Digital Storytelling: The Dream, the Team the Results
•Descargar como PPTX, PDF•
3 recomendaciones•2,144 vistas
Slide deck from AAM Annual Meeting in 2015: Digital Storytelling: The Dream, the Team, the Results Media and Technology track Tuesday, April 28, 2015 Museums can deepen audience engagement through effective storytelling. Delivering content has never been easier, due to digital interfaces and personal, portable technologies. Without a strong interpretive strategy and the right tools to craft and share our stories, we may be missing opportunities. Join this panel of experts as they describe real-world projects, share results that show the impact of digital storytelling on engagement, and demonstrate a new, free storytelling software. Learner Outcomes 1. Attendees will learn about interpretive strategy methods and the project team approach to create and share engaging stories on digital platforms. 2. Attendees will learn about combining rapid prototyping methods with formal evaluations to create digital storytelling that delights audiences. 3. Attendees will learn how to download and use a free (open source) set of storytelling software tools developed by the Minneapolis Institute of Arts.
Recomendados
Más contenido relacionado
La actualidad más candente
La actualidad más candente (20)
Destacado
Destacado (11)
Similar a Digital Storytelling: The Dream, the Team the Results
Similar a Digital Storytelling: The Dream, the Team the Results (20)
Más de The Metropolitan Museum of Art
Más de The Metropolitan Museum of Art (20)
Último
Último (20)
Digital Storytelling: The Dream, the Team the Results
- 1. Midsummer Night’s Dream, Samuel A. Cousins , 1858, From the collection of the Minneapolis Institute of Arts
- 3. DH TDX: The Digital Experience project at the MIA
- 5. DH
- 7. Douglas Hegley Director of Media and Technology Minneapolis Institute of Arts DH The Team Alex Bortolot Content Strategist Minneapolis Institute of Arts Mike Mouw Director of Multimedia Technology High Museum of Art (soon) Amanda Thompson Rundahl Director of Learning and Engagement Saint Louis Art Museum Scott Sayre Chief Digital Officer Corning Museum of Glass … and a cast of thousands!
- 8. Credits: The TDX cross-functional project team members included staff from the following museum divisions: Curatorial, Learning Innovation, Audience Engagement, Visual Resources, and Media and Technology. The project team ultimately extended to include several other departments of the museum. Douglas Hegley: Executive Sponsor, Director of Media and Technology, project conception Karleen Gardner: Steering Committee, Director of Learning Innovation, interpretive writing Matthew Welch: Steering Committee, Deputy Director and Chief Curator Mike Mouw: TDX Project Manager, project coordination Alex Bortolot: Curatorial Content Strategist, research, content creation, interpretive writing, story editing Paige Patet: TDX Project Assistant, project coordination, content creation, interpretive writing, story editing Amanda Thompson Rundahl: Head of Interpretation, content creation, interpretive writing Andreas Marks, Chris Atkins, David Little, Dennis Jon, Eike Schmidt, Erika Holmquist-Wall, Jan-Lodewijk Grootaers, Jennifer Komar Olivarez, Jill Ahlberg Yohe, Liz Armstrong, Nicole LaBouf, Patrick Noon, Rachel McGarry, Risha Lee, Thomas Rassieur, Yang Liu: Curators, research, content creation, and interpretive writing Dawn Fahlstrom, Heather Everhart, Kristin Lenaburg, Kristine Clarke, Natasha Thoreson, Nicole Soukup, Nicole Wankel, Roma Rowland: Curatorial Administrative Assistants, WordPress authoring, image and video acquisition, rights coordination Britta Jepsen, Camille Erickson, Elise Poppen, Laura Scroggs, Laurel Gramling, Zachary Forstrom: Curatorial Interns, research, interpretive writing Meaghan Tongen: Media and Technology Project Coordinator, agile software development ScrumMaster, rights coordinator, WordPress training Jennifer Jurgens: Graphic Designer-Web/Interactive Media, interface design and layout, art direction Tom Borger: Web Developer, WordPress plugin development, front end integration Kjell Olsen: Web Developer, image tiling / annotation development, front end integration Andrew David: Head of Software Development, API development, infrastructure design Tim Gihring: Editor, content creation, interpretive writing Amanda Hankerson, Ana Taylor, Charles Walbridge, Dan Dennehy: Photography Josh Lynn: Digital image processing, metadata coordination, image file preparation Heidi Raatz: Image rights consultation Mike Dust: Video and audio producer/director Ryan Lee, Xiaolu Wang: Videography, video editing, installation Mike Tibbetts, Rose Nelson, Ryan Jensen, Steve Scidmore: IT support, installation, maintenance Frances Lloyd-Baynes: TMS consultation Michael Lapthorn, VJAA: gallery iPad furniture design Al Silberstein, Shawn Holster, Tom Myers: iPad furniture construction Steve Johnson: Electrician Sort of Not Kidding DH … and this isn’t even everyone!
- 9. DH Minneapolis St. Louis Corning Atlanta The Team? “The only thing that is constant is change” - Heraclitus
- 10. Why? DH
- 12. DH
- 13. DH
- 15. It starts, and ends, with PEOPLE
- 17. What is storytelling? What makes it effective? DH
- 18. Storytelling in the Museum Setting AB
- 19. To engage audiences: MIA is making shifts in tone, voice, length, appeal, etc. Example ArtStories introduction for Beer Pot, Unknown Artist, Zulu Culture AB Museum Shifts How is brewing beer like growing babies? The Zulu believe the same ancestral forces that ferment beer also create children in the womb. Zulu families will drink beer together and ask their ancestors to help grow the brood. Round, shiny black pots like this one are at the center of Zulu beer parties, refreshing the living while linking them to past family ancestors. Beer pot, mid-20th century, Artist Unknown, (South Africa, Africa), Clay, Anonymous gift of funds, Minneapolis Institute of Arts, 99.115.1 Breaking News: Zulu Beer Pot ArtStory recognized in 2015’s Excellence in Exhibition Label Writing Competition
- 20. Language processing Language comprehension Smells Emotions Emotional reactions Memories Motor cortex Visual Images Your Brain on Facts Your Brain on Stories Human beings prefer narrative - No one speaks in database AB
- 21. How does MIA use stories to engage? DH
- 22. GENERAL PUBLIC THE ENGAGED, CURIOUS NICHE PARTICIPANTS Snorkeling Scuba diving Participant Identities Based on John Falk, Identity and the Museum Visitor Experience (2009) • Each identity will have participants from all three categories (although not in equal proportion) • Any given person may inhabit any of the identities, based on each visit motivation 1. Explorer 2. Facilitator 3. Experience Seeker 4. Professional/Hobbyist 5. Recharger Surface swimming Wading ATR
- 23. Audience Insights Research EXPLORER / PROFESSIONAL 52% EXPERIENCE SEEKER 27% FACILITATING SOCIALIZER 8% FACILITATING PARENTS 7% RECHARGER 6% Brand champions Targeted programing already in place OK ATR
- 24. PARTICIPANTS CONTENT: Overall Interpretive Framework The majority of our audiences do not come to us with deep prior knowledge. In order to engage as many of them as we can, it is our responsibility to deliver content that meets multiple and varied needs. ATR GENERAL PUBLIC THE ENGAGED, CURIOUS NICHE Snorkeling Scuba diving Surface swimming Wading
- 25. CONTEXT Introduction What is this? Why does it matter? CONTENT Narratives & stories From surface to complex Tell me more … EXPERTISE Deep, rich Scholarly research The foundation of details & facts INFORMATION Invite, welcome Inspire, delight Inform CONTENT: Layers of Information PARTICIPANTS This is not, and never will be, “dumbing things down”. Instead, this is opening as many doors as possible, and meeting our audiences where they are, with respect and enthusiasm. ATR GENERAL PUBLIC THE ENGAGED, CURIOUS NICHE Snorkeling Scuba diving Surface swimming Wading
- 26. “Never overestimate your audience’s knowledge and never underestimate their intelligence” - Glenn Frank (1887-1940) ATR Thomas Struth “Audience 1 (Galleria Dell Accademia), Florenz”, 2010.51.2, Minneapolis Institute of Arts
- 27. What exactly is TDX at MIA? DH
- 28. MM BEFORE: “The nursing home of museum technology” - MIA staff, 2012
- 29. • Establish a modern approach • Engage audiences via digital platforms • Overall TDX Project Goals - Social interaction - Informal learning MM Ambition!
- 30. Key Messages (Example from TDX Interactive Map of Africa treatment) Africa is and always has been globally connected. Visitors will understand and appreciate the vast scale of Africa and the incredible diversity of cultures and art objects offered by the continent Experience Objectives (Example from TDX Interactive Map of Africa treatment) 1. Museum visitors will feel that they better understand the African Galleries art objects, and why they are in the museum. 2. There is lively social interaction between visitors which is facilitated by the interactive map, with discussions that this art collection has been influenced by global ideas flowing into and out from Africa. 3. Visitors will appreciate the richness and variety of African art in the museum’s collection and the cultures that made the objects. MM
- 32. • Phase 1: Africa Eight month team production schedule to create new software experiences for an 82 inch Perceptive Pixel by Microsoft touch wall and ArtStories on gallery iPads for the redesigned African Galleries • Phase 2: Collection Highlights One year team production schedule for the museum-wide launch of ArtStories on iPads in the galleries via a responsive design website—also works on vistors’ smartphones, digital tablets, or personal computers • Phase 3: Japan – underway Six month team production schedule to add social learning experiences to the Minneapolis Institute of Art’s growing Japanese art collection MM Phases
- 33. What tools does TDX use? DH
- 38. SS
- 39. SS Mike Mouw (just about) fainted – we had less than FIVE MONTHS to launch! Mike, are you okay? Mike?
- 40. SS
- 41. SS MIA Griot
- 42. Griot
- 43. How does the TDX Project function? DH
- 44. MM Establish Goals: Treatment docs
- 47. Iteration MM
- 49. How do you involve all those staff? DH
- 50. ATR Starts and Ends with Audience
- 53. How do you craft the stories? DH
- 54. To remain viable, museums must rethink not only what types of knowledge they create, but how/with whom they create it, and finally how they communicate it. AB
- 55. Scholarship is the foundation of our work. Start there. Everyone likes an underdog. Don’t do just the highlights. Level with the visitor. Speak to universal experiences. Good stories trade on the visitor’s empathy • Who are your characters? • What is the situation? • What decisions did they make? • What were the stakes? AB Choosing stories – Which ones? Why those?
- 56. If you do nothing else, get rid of the passive voice. The passive voice denies people of their agency – and sounds like we’re hedging. The active voice shifts the focus to people doing stuff. I hate this guy, don’t you? AB
- 57. AB Writing Workshops Professional writing consultation from Kris Wetterlund, helped inform: http://www.museum-ed.org/a-guide-to-interpretive- writing-about-art-for-museum-educators/
- 58. Is it an app, or is it a website? What’s the difference? DH
- 59. WebApp, not Native App =
- 60. Responsive Design One URL = multiple devices
- 61. SS Native App Pros • Stored on device • May not require network • App stores • Access to all hardware • May be faster Cons • Device specific • Requires App store download • Requires download to update Web App vs. Pros • All browsers/platforms • Responsive - All devices • URL not download • Always up to date • Lightweight • Some bookmarking • Less expensive • More sustainable Cons • Requires network • Hardware access limitations: camera, Bluetooth, GPS, etc.
- 63. New Working Methods: Strong Collaboration, Rapid Prototyping and Iterative Cycles
- 68. What is open source? It’s free, right? DH
- 69. Open Source Software • “Free” download • No company • Community support • Can be modified • Susceptible to security issues • Requires technical support Commercial Software • License fee • Maintenance fee • Company support • Often can not be modified • May require less tech support Open Source
- 70. Griot is free and open source Griot is available for download at GitHub https://github.com/artsmia/griot SS
- 73. AB Methods
- 75. • Visitors will use technology in the galleries. • They will spend a significant amount of time with the technology, and will read aloud and discuss as they do so. • The technology was used effectively and with positive response by individuals and groups.
- 76. • The use of technology does not detract from visitor focus on the art. • When visitors left the gallery, the descriptions of their visit were almost exclusively about the art, and notably not about the technology.
- 77. • People who used the technology spent more time in the exhibit than those that did not use the technology • even after subtracting the time spent using the technology
- 78. AB Next Up: Evaluation of Phase 2
- 79. Who else is using Griot? DH
- 80. Saint Louis Art Museum ATR
- 81. ATR
- 82. ATR
- 83. ATR The de Young (FAMSF)
- 84. Can we see it now please? DH
- 85. Live Demo(gasp!) Questions while we set up? DH
- 86. What’s next? What’s on the horizon for digital storytelling? DH
- 87. SS
- 88. Chinese, Dish with Design of Gardenia Sprays, early 18th century, Bequest of Edith J. and C.C. Johnson Spink Eero Saarinen, American (born Finland), Armchair, designed 1956, manufactured c.1960, Knoll Associates, Inc., New York, New York, Gift of Michael Ashworth Egyptian, Mummy Case of Amen-Nestawy- Nakht, c.900 B.C., Gift of Mr. and Mrs. Barney A. Ebsworth for the children of St. Louis ATR
- 89. MM
- 90. Minneapolis Institute of Arts AB Living Rooms: The Period Room Projects Our 18th century rooms speak about contemporary issues like race, gender, technology, & the 24-hour economy ArtStories focus on the Arts of Asia Global Maps (fingers crossed!) Stories of global trade and exchange told through a digital map interface
- 91. This presentation available at: http://www.slideshare.net/dhegley Thank you! Questions? Douglas Hegley: @dhegley Alex Bortolot: abortolot@artsmia.org Mike Mouw: @MikeMouw Scott Sayre: @zbartrout Amanda Thompson Rundahl: @AmandaTRundahl More information on Griot: http://thoughtsparked.blogspot.com/
Notas del editor
- TDX – The Digital Experience Project at the MIA – is a multi-year effort to engage museum audiences via digital interfaces, with a focus on storytelling.
- The Minneapolis Institute of Arts is a 100 year old museum, it attracts over 600,000 visitors per year to experience the art and the museum’s wide array of programs and activities drawn from it’s encyclopedic collection of nearly 90,000 objects, which span the entirety of human history and cultures.
- Here is the official list of credits for the TDX Project at the MIA. Really. Seriously. It truly is a pan-institutional effort.
- If you aren’t familiar with the work of Simon Sinek, it’s worth digging into – even if you just watch his TED talk of the same title.
- The museum’s current strategic plan puts Audience Engagement first and foremost – upper left hand corner. Note also the supporting strategies of Museum Lab and Omni-Channel, which encourage us to try new things and to do all we can to provide personally-relevant and delightful experiences.
- THIS is the goal: Happy Visitors! Engaged, excited, inspired, and “attached” to our organizations. We want them to think of us as their “third space” – not home, not work, but a familiar and comfortable place for community, connection, learning and FUN.
- Start with scholarship, but lead with the image Transmedia storytelling that propels a narrative through images, videos, sound, graphics, and text Narrative organized in visual ways, like maps, for example, that make surprising and powerful connections that stick with the visitor Creating lean-back reading scenarios in galleries, and supporting those experiences at home Sharing and spreading authority through inclusion of non-curatorial voices and perspectives Leveling with the audience: recognizing their interests and speaking to them; ie: process stories
- Your brain is “on fire” when you are engaging with narratives. This leads to deeper emotions, better memory and recall, as well as actual empathetic sensations.
- In partnership with the General Mills Consumer Insights group, the MIA did Falk-based audience research in 2013. We found: ~half of were Explorers/Professionals. Brand champions: explorer/professional hobbyist are well served. The experience seekers and facilitating socializaers are “underserved” (except when there is a blockbuster exhibition). Thus, these are our segments targeted for growth. Both need good entry experience and both need accessible content.
- Project origins and initiation Evaluation project for ILS installations At one time it was innovative, but years of deferred maintenance had allowed it to fall far behind
- Of course, this is no small undertaking, and we must express deep gratitude to the General Mills Foundation for recognizing the importance of the TDX effort and being generous with the initial pool of project funding. We have ambitious plans, and of course everything comes with a price tag!
- … but he trusted the wisdom of the team
- Treatment docs
- Front end evaluation
- Team breadth and depth: Core Team + Steering Committee + Expanded Team + Stakeholders
- Frequency & purpose of meetings and working sessions
- Cross-functional Core Team with responsibility to deliver the end-result
- Simply making something accessible is no guarantee that it’s interesting! In order to ENGAGE audiences, and connect them to what is meaningful and inspiring, it’s vital that we re-imagine our assumptions, along with our methods and our modalities, within a 21st century frame of reference.
- What was done? By whom?
- We employed an “agile-ish” production model for TDX. Iteration: sketches – discussions – early prototypes – feedback loops – working prototypes – more feedback – refinement – launch (then repeat?). We are quite pleased with the results.
- Delivered: large-scale in-gallery interactive map, on a Perceptive Pixel 85” multi-touch screen, running Ideum’s software …
- Delivered: ArtStories, powered by Griot software (open source storytelling platform developed at the MIA), available on iPad in the galleries
- Delivered: Study Table for very small objects, based on the same software package
- Next up: formal eval of Phase 2, to help inform decisions in Phase 3
- SLAM – panorama of twenty-five large scenes of the Mississippi River, but only one section can be displayed in the gallery. Griot provides access to all of the additional sections, and the software allows visitors to go behind the installation to see how the painting is stored by being wound onto huge spools.
- The DeYoung Museum adopted Griot open source software to provided interpretation for the museum’s Embodiments exhibition of African sculpture. A large multi-touch screen allows visitors to select works or art and then explore close details that are difficult to see in the galleries
- So many ideas! The possibilities are endless! St. Louis Modern exhibition – fall 2015 Spink Collection of Asian Art (200 objects, filling gaps that allow us to tell the complete story of the history, craftsmanship and technology Chinese ceramics) Egyptian Galleries (mummies recently CT scanned)
- The High Museum of Art