Archive for the ‘museums’ Category

Mobile Recommendations from the Think Mobile Conference, Part One

Monday, April 12th, 2010

Some of today’s most active developers and strategists spoke at the recent Think Mobile Conference about the current and future shape of our mobile experience.

The conference focused primarily on newspaper and TV organizations, but I was keenly interested in how their advice could be applied to museums who, like media companies, are big institutions, slow to change, have great content, want to stay relevant, are looking for guidance about how to succeed in mobile, and who can’t afford to lose money doing it.

Among the media companies represented were NPR, Bravo, Pandora, Associated Press, CNN, Bloomberg Media, PC Magazine.

Here are the big ideas they shared about successful strategies. I’m posting this in two parts over two days.

Part One will cover:

- Start at the Beginning: Define the Experience

- Decide if Your Application is for the Mobile Web or specific Devices

- Find the Wow Feature for Your App

Part Two will cover:

- Don’t Make Your App a Graveyard, Keep Users Coming Back to It

- Ways to Support the Development and Maintenance of Your App

- Last But Not Least, Spread the Word That Your App is Available


Part One: Start at the Beginning: Define the Experience

First, you need to define the experience you want users to have. For museums this can mean defining where their audience will be accessing mobile content. For example, are you delivering content to people who are in your museum? If so, they’re already in an environment that provides a context for your content. If you’re focusing on people off site, then your app will need to give users an informative context and a reason for engaging with your content.

Take into consideration how people consume mobile content. In the words of Paul Reddick, CEO of Handmark, a leading developer of mobile software, people use their devices for  time sensitive information, like news; for reference content, so they don’t need to go out to Wikipedia; and for convenience, to access information when and where they want it. If you can look at your project this way, you’ll be able to offer a satisfying experience by providing the right content at the right time, and meet the expectations of your users.

Also, define what you want to achieve with your mobile app and how you could measure success.

Decide if Your App is for the Mobile Web or specific Devices

The general consensus is that while it’s useful, and cheaper, to build a mobile web app, it’s better to deliver your content on applications designed for specific smart phones. Here’s why:

  1. to take advantage of the rich user experience features of phones;
  2. to make the content available even when there’s no connectivity to the internet;
  3. to provide unique content that you can charge for, either from sponsors, or users;

The big drawback is that no one version of your app will work on every phone; platform specific development is required. Currently, not even most big media companies can afford to build apps for every device out there. This means making more choices. They recommend:

  1. iPhone; iPad – not the biggest user base but this user base downloads the most apps, on average 37 per month (free and paid).
  2. Android: – number of users and applications rising quickly.
  3. RIM – blackberry: biggest user base but not much interest in downloading apps; this platform is also problematic because there are so many blackberry devices the software works differently on them, so it’s been hard to develop applications. This may soon be changing. If so blackberry apps will have access to the widest user base.

Either way it’s important to understand how people use their phones so you can design your content to fit their behavior.

Find the Wow Feature for Your App

Everyone wants to figure out how to design it so that people want to use it more than once. Here are some tips, given by Brian Meehan of Sourcebits

  1. One great feature is better than feature overload, for example, the interactive ocarina on the MIA iAfrica application, the multi-tiled dinosaur portrait/interface in AMNH’s Dinosaur app, or the compelling story line in the Van Gogh Museum’s Yours Vincent app.
  2. Use the core features of the phone, such as multi-touch, accelerometer, location services to provide rich experiences. These things don’t work on the web.
  3. Make the app work with wi-fi and 3G (soon to be 4G)

10.User interface really matters. Think about what your users expect and make the navigation clear and simple use.

11.Build in connections to social media like Facebook and Twitter so people using your app can promote the app as they talk about your content;

I would add, as many others did, start with the content. Provide stories people want to read/watch/hear.

Part Two will cover

- Don’t Make Your App a Graveyard, Keep Users Coming Back to It

- Ways to Support the Development and Maintenance of Your App

- Last But Not Least, Spread the Word That Your App is Available

Use BklynMuse!

Monday, March 29th, 2010

I think this is a very exciting time for museums who are willing to be experimental. Yesterday I whiled away an hour in the Brooklyn Museum‘s galleries, trying out a new version of BklynMuse, to access their online collection, on their newly upgraded mobile website.

Here’s how it works: once you’ve joined their public wi-fi network, you stand in front of an object, type in its number on your phone and, presto! you can pull up the image, “like” it, a la Facebook, leave your own comment, see other visitors’ comments and learn more about it from experts.

You can also play Gallery Tag, where you collect points for every item you tag, and extra points for doing this on more than one floor.

I wanted to try out BklynMuse  because I was curious to see how disruptive the social media activity would be to my experience. Normally when I go to a museum it’s to see a specific show, or just wander with a friend through the galleries. I couldn’t really imagine wanting to interact on my phone.

There’s a piece that I’ve always loved in the Arts of the Pacific Islands gallery, so I went there first. Here he is, a little figure from the Nicobar Islands.

To me he looks like kind of a crazy, happy guy, and maybe he’s surfing.

I typed in his number and, to my surprise, this is where it got to be fun. Thanks to BklynMuse I saw right away that five other people have also “liked” the Nicobar Island man so I know I’m not the only one. I happily left a comment, and am eager to see what future visitors think of him,  and how that might give me fresh ways of looking at him.

I tried the tagging game too, and racked up 25 points, which put me in 3rd place! BklynMuse just launched this week so very few people are using it yet. Gallery Tag reminded me of a home made version of FourSquare.

What’s unique about BklynMuse is that it’s entirely visitor driven. It’s not a tour or guide to the collection designed by Brooklyn Museum. It’s a vehicle for visitors who are motivated to feed their curiosity about particular artworks; it encourages them to voice their reactions to the works, and validates what they have to say by publishing their comments.

Tagging too can have its serious purpose; even as a kid just playing a game, you have to look at the object you’ve chosen, look at the tags that are offered, think about which is most appropriate, and if there isn’t one, create a new one to use. It’s empowering in its way!

We’ve been members of the Brooklyn Museum since we moved here from Manhattan 20 years ago. I took my son to more Arty Facts sessions than I can recall. In 1997 I produced a big, beautiful 24 screen video wall program for the exhibition Monet and the Mediterranean, in their old, cavernous lobby. That was large cutting edge technology for its day, and the Museum used it to make the space more friendly for visitors waiting on line to see the show.

Today they’re carrying on that tradition of being out in front in using technology, with imaginative, experimental efforts in social media and mobile,  to make the Museum friendly to new audiences. As a visitor I really feel that they’re trying to give me a wonderful experience and I’m willing to try it. In the process, I learn from them and they learn from me.

#WhiBi: The Twitter Tour of the Whitney Biennial

Tuesday, March 23rd, 2010

Today I participated remotely in the Twitter Tour of the Whitney Biennial, organized by @Whitney, @WNYCculture and @cmosntah (Caroline Miranda), and led by Biennial curator Gary Carrion-Murayari. Eight winners of a contest were invited to go on the tour through the galleries and tweet about it. A bunch of us followed the tweeters, got to ask questions, add comments and participate in a strange but enjoyable experience.

What was it like? The fun part was performing an unscripted conversation about the Biennial in real time with smart people I didn’t necessarily know. We came together and formed an ad hoc little community for the event (an event community) to eagerly share and receive words from the curator, reactions to the art, and pictures. Even though there were two distinct groups – those who were at the Whitney, and those who were not, it didn’t feel hierarchical.

As remote participants we only received a small fraction of the story due to the limitations designed into Twitter. There were plenty of tweets that arrived out of chronological order, partly due to dead spots in the Museum, and partly to the differences in people’s phones, so the flow wasn’t smooth. But no one expected a typical museum tour. In fact, I’m not sure any of us knew what to expect. That was part of the excitement. I was on auto-pilot for a few minutes when I had my ear buds in, as if expecting there to be Twitter audio. I guess that’s next!

Would I do this again? Probably. Did I have fun and converse with some very interesting people? Yes!

You can follow all the comments and see all the pictures at #WhiBi. You’ll be surprised how much you find out!

New From AMNH – the Dinosaurs iPhone App

Friday, March 5th, 2010

Dinosaurs iPhone app from AMNHThe recently released Dinosaurs app for iPhones from AMNH was well reviewed on Museum Mobile Wiki. I’ve been spending quality time with it on my morning commutes and having a wonderful time reading the Stories section. Six dinosaurs and their discoverers get the full treatment.

Did you know Barnum Brown was a prodigious fossil hunter, discoverer of three T-rex skeletons, an oil prospector and a spy for the US government? Neither did I till I had the app on my phone. I’ve read the label copy on the museum wall before but info didn’t stick until I was holding it in my hands.

One of the things that struck me is the absolutely incongruous reality of looking at a picture of the 80 foot tall Barosaurus on my iPhone, where the image on the screen is all of 1.5 inches tall. It’s mind-bending to comprehend the scale of dinosaurs in this medium unless you already know a lot about them, though the picture of the paleontologist Earl Douglass standing next to a section of the actual backbone can help.

Also, I wrote a comment on the Museum Mobile Wiki about how I wished that, on top of all the other good stuff the app provides, it would hold your place when you had to quit. It does, at least while you’re reading one of the Stories, so I apologize for mis-reporting.

Going Mobile @Balboa Park

Thursday, February 25th, 2010

The amount of content available for smart phones has skyrocketed during the last year. Consider these statistics:

-       Apple’s App Store had over 140,000 apps and users had downloaded apps over 3 billion times by late 2009.

-       AT&T’s had 85.1 million wireless subscribers at the end of 2009

-       Verizon ended 2009 with 87.5 million wireless subscribers

-       Forrester estimated that 3 million eReaders were sold in 2009 and predicts that 10 million e-readers will be sold in the coming year.*

The trend is only growing stronger, so it makes sense for museums and content providers of every stripe to consider going mobile.

On February 17, Nancy Proctor, Head of New Media at the Smithsonian Museum of American Art and manager of museummobile.info, and Titus Bicknell, internet technologist, spoke at the two day workshop “Going Mobil @ Balboa Park,” where they offered a terrific overview of the things museums need to consider before developing mobile content.

There’s a fine report of the event and video interviews with Nancy and Titus at experienceology.blogspot.com. Nancy’s slide show is available here and Titus’ slides are here.

Nancy makes a lovely comparison when she says that the Museum used to be like the Acropolis, and is now becoming more like the Agora. I hope there will always be visitors who seek a  more meditative experience at museums, but many  will find the opportunity to share ideas and interests with each other and with curators in real time very appealing.

A mobile presentation supports both types. When you’re engaged with content on your own phone it’s easy to shut out the world and focus. Just look at all the subway riders on their morning commute. Yet built in social media links add the potential to share the application’s content with friends, and your thoughts with the museum.

By the way, I just searched the iPhone app store for “museum,” and 180 apps appeared. There are probably some that shouldn’t really be there but still, it’s an impressive number!

Suggestions for iAfrica: Connecting with Sub – Saharan Art, an iPhone app

Thursday, February 18th, 2010

iAfrica: Connecting with Sub-Saharan Art is an iPhone app developed as part of an eponymous exhibition at the Minneapolis Institute of Arts (MIA), on view through April 4th, 2010.

The application contains images and related information for 28 objects from 14 African countries, as well as an interactive lamellophone. This feature is the most fun, since it turns your iPhone into an instrument you can actually play to make lamellophone sounding music!

The app’s main menu has icons for nine options, and a “Leave Feedback” link that takes users out to a visitor survey on MIA’s website. The obvious nav options are :

-       About

-       View All (objects)

-       Map

-       Lamellophone

Then there are five other choices:

-       Ethnographic

-       Sensorial

-       Aesthetic

-       History

-       Provenance

After reading the About section, I realized that these choices refer to the exhibition experience in the Museum, where visitors are encouraged to consider each object from five perspectives. The mobile content developers tried to carry the same experience over to the application.

Clicking on one of the five icons brings up an introductory statement that explains why it’s important to know about the objects from this perspective: “ethnographic” answers the question “How was it used? “Aesthetic” answers “What makes it beautiful? Etc.

Within each section there are two navigation options: View Objects and Main Menu. In View Objects mode, you see a full screen image of the object and can tap a little “i” for Info button that raises a transparent screen with label information. Unfortunately you can’t enlarge the images to see details.

The label lists location, object name, medium, size, acquisition details, and object number before getting to the description. The descriptions left me hungry for more information.

From the navigation I expected to learn about the objects in each section from a specific perspective. So I was a little disappointed to see the same label information presented about each object, whether I was in the Aesthetic section or the History section. It’s not clear why certain objects were chosen to appear in particular categories. Several of the objects appear in more than one category.

It seems like the label content came right off the gallery walls. While it’s always a good idea to repurpose content rather than create it for one platform, it’s also important to optimize the presentation of content to take advantage of a platform’s capabilities.

On the iPhone I would have appreciated larger images so I could zoom in to more easily appreciate the details of these unfamiliar objects – see the aesthetic qualities, imagine the tactile surfaces, locate the specific parts that define their use.

Also, the difference between the five perspectives would have been clearer if more detailed information related to the perspective in each section was provided, whether that was text, audio, video or just links to more info on the museum site or elsewhere on the web.

Finally, the survey linked to Leave Feedback is intended for visitors to the gallery, which is a little confusing when you’re coming from your phone. IPhone users could have been offered a link to email their comments directly to the museum.

There is definitely lots of interesting information here, but if MIA had taken advantage of the capabilities of the iPhone, and understood more about users expectations, I think they could have made this a much more engaging experience.

You can download the app here. Please let me know about your experience with it.

Why Yours, Vincent is a Great iphone app from the Van Gogh Museum

Sunday, February 7th, 2010

Recently I’ve started evaluating museums iphone applications, based on my experience as a producer of interactive and web based media for museums, and as an avid iphone user.

All the ones I’ve downloaded offer something to engage me when I need it most – on morning subway commutes, standing on lines, and sitting in airports. In other words, I use them the way some people download games or listen to music, to enjoy myself and keep boredom at bay.

Yours, Vincent iPhone appSo far my absolute favorite is Yours, Vincent: The Letters of Vincent Van Gogh, developed by the Van Gogh Museum and the Huygens Institute – KNAW in 2009 to provide a portable experience of the Van Gogh Letters Project.

What I love is that it offers an immersive experience: you’re drawn into the intimate details of Van Gogh’s life and art. The narrative structure, the letters format, and the fact that his art was personal and small scale make this subject very well suited to viewing on your own device.

The story unfolds in chronological chapters through Van Gogh’s letters, mostly written to his brother Theo. The chapters tend to correspond to the different places where Vincent lived, and the time span he lived there.

Within each chapter there are multiple sections; most present letters themselves, filled with sketches, and read in English as Vincent describes his plans, dreams, troubles, pleasures and work. Others have short interpretive videos of curators filling out the backstory. You can enlarge the letters, to see details of the many sketches Vincent sent to Theo, or study his handwriting.

Most chapters conclude with a gallery of paintings, sketches or watercolors Vincent made during the period covered by the chapter. You can’t enlarge them to look at details- though you definitely want to do that. All you can do is take in the whole image. Yet there’s a surprising amount you can appreciate, even at this screen size. Each one is like a promise – that the real thing will be worth the effort to go and experience in person.

While it’s kind of frustrating not to be able to enlarge the paintings it’s entirely understandable. The app has many video and audio clips and is already a whopping 302MB. Adding higher resolution images might have meant cutting back on the number of images altogether, or on the insightful media clips.

From a user interface standpoint, the navigation clear. There are three main options: Items, the main menu of chapters; Insight, an option which allows you to filter the chapter sub-sections by topics such as “love,” “sex,” “nature” and several others; and Info, with production credits.

Within each chapter, the navigation is horizontal. One nice thing is that navigation slides away while you’re looking at artworks so your view of each image is unobstructed. You can make the video controls disappear too, by simply tapping on the screen.

One minor complaint is that galleries don’t present the paintings in chronological order. If they did, in the gallery devoted to the self-portraits Van Gogh painted while he lived in Paris, you’d be able to see how his image of himself changed over time rather than viewing them in a seemingly random order.

I’ve also begun to explore iphone apps from The National Gallery (Love Art), Minneapolis Institute of Arts (iAfrica), the Brooklyn Museum, and NARB (more of a crowd sourced guide to local museum exhibitions in cities around the world). I’ll be sharing the results of my research about them in the coming days and weeks. The ones from Portland Art Museum and AMNH are on the list next.

If you’ve used any of these applications please share your thoughts. If you have other ones to recommend, let us all know!

Posted via email from mediacombo’s posterous

Blogs About Art Finally Get Some Respect!

Sunday, January 31st, 2010

Blogs offer serious journalism, breaking news, diversity of views and opportunities to connect directly with readers. Not all blogs, of course, and it hasn’t always been this way. For years people have criticized bloggers, claiming that they’re just a bunch of opinionators, not trustworthy sources of information – no one vets their facts or holds them to standards of journalistic practice.

I recently moderated Blog This!, a panel discussion whose purpose was to review how the role of blogging in the art world, by institutions, individuals, and entrepreneurs, has evolved over the past few years and whether it’s finally time to give art bloggers some respect!

Moderator Robin White and Panelists: Kelly Shindler, Paddy Johnson, Barry Hoggard, William Powhida, Ed Winkleman. Video thanks to James Kalm.

Our panelists were chosen because their blogs are well known in the art world, and because they represent a cross section of types. As my museum readers know, even institutional blogs have had to work hard to develop a community of readers and commenters. On the internet it’s not easy to gain the trust of an audience. 

Panelists 

Barry Hoggard, who runs the Culture Pundit network and the calendar ArtCat,

Paddy Johnson, publisher, editor and writer of Artfagcity,

William Powhida/williampowhida.com, artist

Kelly Shindler/ founder of the art21 blog (part of the PBS series on twentyfirst century art, Art21;

Edward Winkleman/edwinkleman.blogspot.com, art dealer

This line up had 130 people glued to their seats at X Initiative in Chelsea on January 15th, listening to their favorite bloggers answer questions about their blogging goals, roles, ethics, and efforts to keep things cordial when comments get out of hand.

The panel was sponsored by ArtTable, organized by Heather Darcy Bandhari of Mixed Greens, Lauren Pearson of Art Cycle, and myself.

We asked panelists these questions:

When so many newspapers and magazines are going out of business, or at least cutting back on reviews and criticism, can blogs honorably take up the slack in publishing art journalism and criticism and spread the word about new artists?

Are they trustworthy sources of information? What kind of ethical standards do they have? 

How do they fit with other social media services like Facebook and Twitter?

I’ll try to summarize the panelists’ most salient comments.

In response to questions about the trustworthiness of personal blogs vs branded print journalism:

-       Ed said – while the purpose of his blog is basically to promote his gallery, if he disrespects his readers (and those are the ones that matter because they are the only people paying attention to you) they’re stop reading.  Essentially, your readers keep you honest.

-       Barry pointed out that the role of the press should be to question people in power as well as to report on events; when a lot of print and TV journalists in this country don’t ask hard questions you could say they call into question their own ethics; some bloggers have taken up the role of asking hard questions – in the art world and about the news in general

-       Since serious writers and critics are migrating to the web, all the panelists agreed that galleries should include blog reviews on artists’ biographies

-       Kelly said that on the art21 blog, which focuses on presenting the artist’s voice, they had some issues with whether artists should write about their own work.

 

In response to questions about commenters and developing community:

-       Ed said “if you hit too hard at somebody they never come back so if you’re interested in changing someone’s opinion do it over a series of comments;

-       Paddy and Kelly agreed that there’s a lot of self-policing among community of commenters – they start to take care of themselves;

-       Kelly pointed out that a little debate strengthens the community

-       Still, all of the panelists moderate their comments now, to keep the conversations relatively focused and civil.

 

In response to the question of how blogs, facebook and twitter work together:

-       Paddy said different audiences prefer different tools so a blogger who posts to all three places will be talking to a wider group of people than simply those who read and comment on the blog itself

-       Paddy also said these are great ways “to break up the echo chamber of the blogosphere”

-       Kelly and William Powhida concurred saying that Twitter and Facebook are a useful interface for promoting the blog and developing other conversations

In response to a question about how to develop a successful blog:

-       Ed pointed out that Blogs are measured by traffic – one way to get more readers is to link to other blogs;

-       Ed said  – find your voice – it’s what makes your blog unique

-       I said – write about what you’re passionate about = strong content

-       Paddy added – update frequently

-       “The central currency on a blog is generosity,” in Ed’s words, “the more generous you are the more comes back to you.” He blogged about the panel, expanding on these topics before and after the panel.

 

After the panel Jerry Saltz, art critic for New York Magazine, wrote  “Excellent panel at ‘X’ last nite on Facebook. His comment that “younger critics should just say what they like/don’t like about works of art,” generated 138 comments and developed into a lively conversation about blogs, journalism, the state of art criticism, whether it’s a conflict of interest or not to accept gallery advertising on a blog about art, and who people’s favorite art writers.

And artist and videographer Jim Kalm wrote “I’ve always loved the whimsical freewheeling give and take of the blogosphere … creating a virtual Exquisite Corpse.”   He also posted two videos of the panel discussion for you to check out.

So I would say that blogs, for all their flaws, make a significant contribution to the cultural, intellectual and political conversations that inform our choices and actions every day.  Bloggers, keep on bloggin’!

Posted via email from mediacombo’s posterous

An Interview with Kevin von Appen

Wednesday, August 6th, 2008

The Ontario Science Center’s Kevin von Appen talked to me about the Center’s two year old experiment with web video, and its commitment to the YouTube community in particular, when we met at Museums and the Web Conference last spring. Kevin is the Director of Daily Experience Operations at OSC.

Even then he was excited about the big event that’s taking place this Friday, August 8th, at OSC, the 8.8.8. Toronto Meet Up.

RW: How long ago did you start putting videos on the web?

KVA: We started in October 2006 with video experiments on YouTube and other sites. We were watching the emergence of YouTube as a channel for dialogue and communication through the summer of 2006. Smart people were saying this is an area for experimentation. Lots of people didn’t have the skills to shoot and edit video but we did, fortunately. You don’t need to be an expert – you can do in-camera edits. If you have an interesting event, just set up the camera, that’s enough.

RW: Like you did with the astronaut describing how a toilet works in the absence of gravity in space. That was both scientifically accurate and hilarious. It’s been viewed on YouTube over 1,000,000 times!

 picture of Space Toilet video on YouTube

KVA: That’s a good example of what I’m talking about – he was a good storyteller and we just clipped the best two minutes of his presentation. It wasn’t a technological masterpiece, but it was a communications success.

RW: How does the look of these videos affect the impression people have of the Science Center?

KVA: The question of how it makes you look is a big one. For OSC the informal look of the videos works. We’ve talked a lot about what’s the voice of the Science Center. I define it as a humorous friend who knows just a bit more than you do and is really excited to tell you. Friends tell the truth, they don’t talk down to other friends, they’re respectful; they have a sense of humor.

RW: Do you mean that sometimes it’s easier for people to hear difficult things if they’re touched with humor?

KVA: You know, when people talk about serious things that are exciting to them, that matter to them, they always find opportunities to crack a joke – out of a sense of joy; it comes out of the love of what they’re doing. They don’t need to be pompous. We’re always looking for that informal voice. On the floor we have human faces – the Hosts – and online videos in social spaces are like that – offering a chance to provide a personal face.

RW: Could you elaborate on this?

KVA: The exchanges VideoChick770 has with other YouTubers are what are meaningful. She captures content in various ways and puts it up there. It covers the interesting people who come to talk, the exhibitions, our demonstrations.

RW: When I perused the videos I came away with the impression that the Ontario Science Center is a place where all kinds of people with all kinds of interests can have a good time.

KVA: For me the exchange is key. These are places for conversation, not for broadcast. That’s why we’re looking forward to the Meet Up. Word spreads through connections VideoChick770 has made. I’m most interested in the conversations, where we, the institution, are listening respectfully – to comments about the videos and in videos that are posted in response to ours. True interactions are driven by visitors on the web and on the floor. We don’t tell people what to think.

OSC's videochick770

RW: How would you characterize these exchanges? What are you looking for in these conversations?

KVA: How would I characterize them? Take the astronaut video. There were well over 1, 000,000 downloads and thousands of responses. If you scroll through them you’ll see lots of stuff – “lol” messages as if they were instant messages, or bathroom humor but also there are thoughtful pieces of exchange. For example someone wrote in “I didn”t know Canada had a space program.” That opens the door to talk about international space programs besides NASA. But you should look for yourself and make your own judgement.

Theodore Sturgeon, the science fiction writer had his own law: “ninety percent of science fiction is crud, but then ninety percent of everything is garbage.”

RW: I know what you mean!

KVA: You can”t control this stuff. We’re watching everything unfold, and we’re as much affected by what happens as we are influencing what happens. For one thing, in the web space to download and watch a video is more of a commitment than clicking on a banner ad. At a fundamental level, online video is a medium for getting people to engage with science. Participation, co-creation and dialogue – these are the things we encourage at the Science Center and things can happen using social media regardless of geography. YouTube social media is a natural way to engage visitors in new ways.

RW: Do you see different types of responses at the different video sites?

KVA: That’s a very good question. We have our videos on 19 different places: YouTube, Yahoo, Break.com, spike.tv, blip.tv, etc. Our content is the same on all of them. The responses on break.com are a bit more “frat boy” but the vast majority of our traffic comes from Yahoo and YouTube. Yahoo likes us – they often feature our stuff because it’s slightly quirky, family friendly in a good way, interesting, easily accessible, not intimidating. Also – the provenance of the content is important; they feel safe assuming the content must be solid when they see the OSC logo at the end, meaning it came from a trusted source.

RW: I think the fact that you put the logo at the end is very significant. This way you’re not prejudicing the audience – scaring them away by announcing that they’re about to watch science content. This way they’ve already kind of bought into the content and where it comes from isn’t really important to them.

KVA: With YouTube if you just make the videos and put them up there it’s a little like throwing a cup of water in a river. What makes a difference is dialoguing with other people, supporting them by commenting on their videos, tagging them. VideoChick770 has spent a lot of time interacting with the YouTube community. She’s identified the opinion leaders within the community. How do you get yourself noticed? You have to participate.

We’re genuinely curious about the responses. We’re trying to listen – don’t open the door if there’s nothing on the other side. Commitment to active participation is crucial. That’s why the “persona” of the Museum is so important.

RW: What do you mean by “persona”?

KWA: Organizations right now see the web as the responsibility of web teams, if they have them. You don’t need a web team to build things these days, you just need to tell your story and find the best people to tell it. The new priority setting is to know who/how to tell the story. Some conversations I’ve had with people tell me that this point is not so obvious.

We’re not just a place, we’re a presence. There’s a physical place and a virtual place. There’s what people are saying about us in social media, and what we’re putting out there in social media – these things make us a presence. It’s not about how we get more people to come to the website, it’s more how do we become a presence on the web.

RW: How do you decide which programs or activities will be part of your web presence?

KVA: We see this whole thing as an experiment. In considering what experiments we’ve done we ask:

How does this line up with our mission?

What are we already doing that is like this?

We ask what’s a good fit for us?

Podcasts are a good example. We’ve been answering questions for decades, and podcasts are expanded answers and they allow for a conversation. In the Westin Family Innovation Centre people can create their own stop motion videos on the floor, so it’s a natural expansion to upload them to share. With Facebook, it’s what would make it an opportunity for true community different from our corporate website? We’re still figuring it out.

RW: How to have an impact that is different from but complements the main museum web site.

KVA: It’s also question of resources – what you’re going to do to have impact. We have a pretty small web team so we put our energies into things that support what we’re already doing, or are organic extensions of those things. There are lots of things I’d like to explore – mashups, flickr, I think Brooklyn Museum of Art is an exemplar in this area.

The penny dropped for me when my daughter who was 9 at the time, was asking if she could watch YouTube more than TV. You’re a 9 year old girl interested in funny cats. You can wait nine months for Discovery Channel or you can go on YouTube right away.

There’s a zeitgeist around these activities. It doesn’t take long for interesting videos to zip around and be shared by friends.

RW: You’ve had a few viral videos.

KVA: The majority of our downloads are driven by a few videos that capture interest and go viral. If we do a Hot Spot presentation on a really busy day at OSC there may be 200 people on the floor and some of them are walking in and out of the presentation. When we put a video of that event on our YouTube channel, over time you are exponentially increasing your audience. 200 people may watch on the floor, but 1,000 people will download the video. Is the interaction the same? Of course not, but I would argue that the commitment is greater – as long as the video is brief.

RW: Yes, most of your videos are under 3:00, many are under 2:00….So what’s surprised you the most?

KVA: I’ve been surprised about everything. When we went on all we knew was that it was an interesting medium to explore. We’ve been surprised by how fast things have been picked up, by the quality of comments, by the videos people have made in response – even the parodies, because people have to listen closely to make a good parody.

RW: What’s the idea behind the 888 Toronto Meet Up* that’s happening at OSC on Friday August 8th?

KVA: What I was really interested in as a science museum communicator, was how does this loop back to the experience in the Museum? The idea that you develop relationships with people and invite them to come to the Museum, and they really are coming from all over the world. People who love videos and science will come together to make videos about science that we would never think of making. That’s where the mission of the organization and the potential of the social web really come together. I’m interested in that.

 OSC website Meet Up page

RW: So, you’re not worried being able to control for appropriateness, correctness, respect for the subjects?

KVA: You’ve got to be willing to give up control, to embrace the messiness, embrace the crash when it doesn’t work. By and large OSC is committed to these modes of visitor interaction. I feel supported by the organization. The questions that come up are real and should be grappled with, because otherwise vivid imaginations will come up with all sorts of potential horror stories and we won’t even be able to try things out. It’s handy to call things “experiments” because we can see what happens. For the most part our audiences don’t let us down. It doesn’t mean we give up on expertise but it does mean we give up our notion and position of broadcaster at a podium – “here’s my message now listen.”

The Meet up is a way to track transference from web space to physical space. It will be a very clear response to the question of how do you know this investment of resources will lead to business?

RW: What’s interesting is how the role of the science center in web space differs from its traditional role in physical space, how the role of the science center is changing because of the internet.

KVA: Let’s face it, these days science centers are not about transmitting facts, so what’s our value? Giving people the tools and inspiration to navigate it themselves, and maybe create it. We need to be communicators first – we can’t be all about facts. Facts are cheap but the ability to “cope” – evaluate, have primary experiences – that’s our goal.

* As the OSC website says, “Following the success of YouTube’s 777 meetup (July 7, 2007) in New York City, the Science Centre is hosting the “888torontomeetup,” Canada’s first large-scale YouTube community gathering.” Of course people are invited to bring their cameras, and bite.tv will be televising the proceedings. So far more than 700 YouTubers have rsvp’d!

The event has been organized by Kathy Nicholiachuk , known to YouTubers as videochick770. She is the face of the Center on YouTube, the engine behind the community that has developed on the OSC channel.

AAM Video Podcast Tutorial

Sunday, June 22nd, 2008

At this year’s AAM conference I gave a tutorial on how to produce a video podcast. There were two identical sessions, and at each session, one of the 30 participants won a new FlipCam! This is a great little video camera that fits in the palm of your hand and costs $100.00. You can’t really go wrong.

 

If you’re interested in a quick and easy way to get started producing your own podcasts, you can download the handout here. Please let me know how it works out. I’d be happy to do a workshop at your museum. If you decide you need something more polished to present on your website or for iTunes U, I can help you produce those too.