Digital Storytelling at Minneapolis Institute of Art
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Presentation from the Minnesota Council of Nonprofits conference, April 12, 2016. Topics: Storytelling in an art museum, audience engagement, open source software, The TDX Project, iterative development, evaluation.
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Digital Storytelling at Minneapolis Institute of Art
- 1. Digital Storytelling At Minneapolis Institute of Art artsmia.org
- 2. Image source: http://upload.wikimedia.org/wikipedia/commons/d/d9/Minneapolis_Institute_of_Arts.jpg Douglas Hegley Director of Media and Technology Minneapolis Institute of Art @dhegley http://www.slideshare.net/dhegley
- 3. Why Storytelling? artsmia.org Midsummer Night’s Dream, Samuel A. Cousins , 1858, From the collection of the Minneapolis Institute of Arts
- 4. 4
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- 6. 6 “Never overestimate your audience’s knowledge and never underestimate their intelligence” - Glenn Frank (1887-1940) Thomas Struth “Audience 1 (Galleria Dell Accademia), Florenz”, 2010.51.2, Minneapolis Institute of Arts
- 7. 7 Human beings prefer narrative – no one speaks in database Language processing Language comprehension Smells Emotions Emotional reactions Memories Motor cortex Visual Images Your Brain on Facts Your Brain on Stories
- 8. Using Stories to Engage artsmia.org
- 9. 9 PARTICIPANTS CONTENT: Overall Interpretive Framework The majority of our audiences do not come to us with deep prior knowledge. In order to engage them, it is our responsibility to deliver content that meets multiple and varied needs. GENERAL PUBLIC THE ENGAGED, CURIOUS NICHE Snorkeling Scuba diving Surface swimming Wading
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- 11. The Digital Experience Project “TDX” artsmia.org
- 12. 12 BEFORE: “The nursing home of museum technology” - MIA staff, 2012
- 13. 13 Ambition • Establish a modern approach • Engage audiences via digital platforms • Overall TDX Project Goals - Social interaction - Informal learning
- 15. 15 TDX Phases • Phase 1: Africa Leverage redesigned African Galleries to launch new digital interpretation tools • Phase 2: Collection Highlights 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 Deeper dive into Mia’s growing collection of Japanese art • Phase 4: Global Maps IMLS-funded effort, using geography to structure stories
- 16. Finding the Right Tool artsmia.org
- 17. 17 Evaluated Existing Platforms Pachyderm Omeka IMA TAP Open Exhibits AIC Launchpad Note that the project team did use the open exhibits/gestureworks toolkit for another in- gallery interactive
- 18. 18 Griot
- 20. 20 Treatment Docs Set the purpose
- 21. 21 Front end & formative evaluation
- 23. 23 Iterations
- 25. 25 Team work sessions Collaboration & transparency
- 27. 27 To remain viable, museums must rethinknot only what typesof knowledge they create, but how/with whom they create it, and finally how they communicateit.
- 28. 28 Choosing Stories: Which ones? Why? 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?
- 29. 29 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. We hate this guy, don’t you?
- 31. 31 Impact: Contributing to Our Field http://www.museum-ed.org/a-guide-to-interpretive-writing-about-art-for-museum-educators/
- 32. 32 The Shift to Storytelling 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. Awarded: 2015 AAM Excellence in Exhibition Label Writing Competition To engage audiences: change tone, voice, length, appeal, etc. Example ArtStories introduction for Beer Pot, Unknown Artist, Zulu Culture
- 34. 34 WebApp – responsive design, one URL for many screens
- 35. 35 Griot is free and open source Griot is available for download at GitHub https://github.com/artsmia/griot
- 36. 36 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
- 37. Measuring Success Formal evaluations done by third party firm artsmia.org
- 38. 38 Visitors Use the technology in the galleries Spend time with it Read aloud and discuss as they do so
- 39. 39 Visitors Still focused on the art Remembered stories, not the tech Even six weeks later
- 40. 40 Visitors who used the tech Spent more time in the galleries Visited greater number of galleries Sought out objects from the stories
- 41. artsmia.org
- 42. Thank you Questions? artsmia.org @dhegley www.slideshare.net/dhegley More information on Griot: http://thoughtsparked.blogspot.com/