Author: mia

Conference notes: Museums and Galleries Scotland's 'Collaborate to Compete'

My really quite rough-and-ready notes from Museums and Galleries Scotland's 'Collaborate to Compete' conference.  I've already posted my introductory notes for the session on 'Entrepreneurship and Social Media', so these notes are about the keynotes and the other sessions I attended.

The first speaker was Jeremy Johnson from Australia's Sovereign Hill, on 'Engaging with China: the new horizon for cultural and heritage tourism'.  He talked about their research-led marketing program aimed at getting Chinese visitors to Sovereign Hill, which included marketing work in China, hiring Chinese-speaking staff, and developing tailored tours and experiences.  They've also hosted Chinese student[?] teachers in their education department and organised touring exhibitions.  They also had to deal with talking about racism in the past treatment of Chinese Australians in Sovereign Hill – their technique is apparently to 'tell it how it was', but because Chinese Australians were 'extraordinary contributors to society' it was easy to focus on the many success stories.  In general, they've developed some experiences to meet the expectations of Chinese visitors, but still, 'the museum product has to be respected'.

Top quotes included:

  • 'you must be able to answer the question "what would make someone visit your museum?"' – there must be a compelling reason to visit
  • China is like 56 countries wrapped up into one. 'Saying you're going to China is like saying you're going to Europe'
  • 'Develop a market strategy to deliver visitor experiences at the right price'. The best marketing strategy can be undone if visitor experience does not meet the promise. Cultural awareness training essential for all staff and volunteers.

    • 'Bear in mind China isn't a democracy, not everyone gets access to Google'.

I then went to the first 'New Partnerships' seminar, where I heard lessons from the 'Curious' project at Glasgow Museums, including the possibility that 'sustainability can be about working with different people at different stages rather than the one group of people working with the museum during the whole process', and that 'people put together objects in ways that curators never would' (e.g. a ceramist put together objects from different parts of the world based on the presence of finger marks in the clay); partnership successes: mutual benefits, increased understanding, new opportunities, positive feedback; partnership challenges: managing expectations (also finding the right people to talk to), organisational structures, a draw on resources, tracking increases in visits.

In the same session, people from the 'Smart Collaborations' project talked about conceptual frameworks for collaboration, with a focus on attracting and retaining visitors within an area – it was hard to see the slides, but it seemed to be about designing experiences for tourists. The top tip was: don't be afraid to use offers, vouchers, or other deals to attract customers; and capture data when getting people in.

The plenary talk before lunch was Stuart Dempster (JISC's Strategic Content Alliance) on 'Sustaining Digital Resources' [earlier report at Business modelling and sustainability, new one will go live there next month ?]. If the digital age is a game-changer for institutions, how can bricks-and-mortar organisations not only be on the web, but of the web. What skills, licensing need to be in place? They've been looking at business models, including the effects of economic downturn and government cuts. Funded projects must deliver value to users, not just driven by curatorial concerns; a key concern is how to generate new forms of income with integrity.

Tips for communicating value to adminstrators: have a seat at the table whenever decisions are made about digital resources; engage administrators early to develop shared sense of responsibility for the project; have an advocacy campaign with users outside the institution so you've got voices of support when needed; identify different types of stakeholders and work appropriately with each – identify champions if you can.  Sustainable projects: empower leadership to define the mission and take action; create a strong value proposition; creatively manage costs; cultivate diverse sources of revenue; have a system of accountability.  Collaborations need consensus, communication, capacity, trust, metrics…

After lunch, Alphonse Umulisa, Director General of The Institute of National Museums of Rwanda spoke on 'Repositioning Cultural Tourism'. Previously at the Museum of London, his job is to raise awareness about Rwanda's history and heritage sites – difficult when Rwanda's history is so painful. They're trying to look forward to the future, and forget the past, but even knowing where to start was hard.  He said you can't learn history in schools in Rwanda – it's not taught – but you can learn Rwandan history in museums. The museums had to change from research institutions to learn how to attract tourists, and they had to get Rwandans visiting museums again. His talk was both utterly humbling – the Rwandan government's vision for 2020 is for every family to have a cow – and inspiring – his motto is: 'discover your museums, cherish your heritage'.

Tony Butler has posted his own notes from his inspiring talk on how the Museum of East Anglian Life transformed itself from a failing organisation to a thriving enterprise, and about his aim to make it a participative institution, a space for co-creation or to help people look at the world differently and to place the museum in the rhythm of daily life.

After my session on 'Entrepreneurship and Social Media', I went to a workshop on 'Smarter Museums' with Anne Murch (who prefers the concepts of resilience or entrepreneurship to 'sustainability').  The workshop covered the principles of a 'thinking environment': appreciation, attention, equality, incisive questions. We did a really interesting (and at first, challenging) exercise in pairs, where you had to either just listen, or just talk, for three minutes, before swapping with your partner.  It's hard – if you're meant to be listening, you want to encourage the person talking, or if you're talking, you want to stop and let the other person have a go.  We did it again later, and it was much easier.  We were also asked to consider "if we knew that together we can have a thriving museum that provides the very best experience for our visitors, what would the org look and feel like? What is the shift we need to make to deliver this?", and the importance of diversity as both the identity of the people that are shaping the future plans and the ideas that are generated. A team that takes a 'diagonal slice' across and down through the museum can be effective – the people with least power are often most creative and least encumbered. Another suggestion for better meetings was to frame each agenda item as a question.

The event closed with the launch of the National Strategy Consultation by Fiona Hyslop, Scottish Cabinet Secretary for Cultural & External Affairs National Strategy Consultation, with a speech that was a lovely celebration of the contribution of museums and cultural heritage to Scottish life.  The document itself outlines the context, guiding principles, vision, themes and objectives of the proposed sector consultation process, which will lead to the national strategy for Scotland’s Museums and Galleries.  (Interestingly, Australia is also running a 'Digital Culture Public Sphere' consultation for input into National Cultural Policy.)

'Entrepreneurship and Social Media' and 'Collaborating to Compete'

[Update: I hope the presentations from the speakers are posted, as they were all inspiring in their different ways.  Bristol City Council's civic crowdsourcing projects had impressive participation rates, and Phil Higgins identified the critical success factors as: choose the right platform, use it at the right stage, issue must be presented clearly. Joanne Orr talked about museum contexts that are encapsulating the intangible including language and practices (and recording intangible cultural heritage in a wiki) and I could sense the audience's excitement about Andrew Ellis' presentation on 'Your Paintings' and the crowdsourcing tagger developed for the Public Catalogue Foundation.]

I'm in Edinburgh for the Museums Galleries Scotland conference 'Collaborating to Compete'. I'm chairing a session on 'Entrepreneurship and Social Media'. In this context, the organisers defined entrepreneurship as 'doing things innovatively and differently', including new and effective ways of working. This session is all about working in partnerships and collaborating with the public. The organisers asked me to talk about my own research as well as introducing the session. I'm posting my notes in advance to save people having to scribble down notes, and I'll try to post back with notes from the session presentations.

Anyway, on with my notes…

Welcome to this session on entrepreneurship and social media. Our speakers are going to share their exciting work with museum collections and cultural heritage.  Their projects demonstrate the benefits of community participation, of opening up to encourage external experts to share their knowledge, and of engaging the general public with the task of improving access to cultural heritage for all.  The speakers have explored innovative ways of working, including organisational partnerships and low-cost digital platforms like social media.  Our speakers will discuss the opportunities and challenges of collaborating with audiences, the issues around authority, identity and trust in user-generated content, and they'll reflect on the challenges of negotiating partnerships with other organisations or with 'the crowd'.

You'll hear about two different approaches to crowdsourcing from Phil Higgins and Andy Ellis, and about how the 'Intangible Cultural Heritage' project helps a diverse range of people collaborate to create knowledge for all.

I'll also briefly discuss my own research into crowdsourcing through games as an example of innovative forms of participation and engagement.

If you're not familiar with the term, crowdsourcing generally means sharing tasks with the public that are traditionally performed in-house.

Until I left to start my PhD, I worked at the Science Museum in London, where I spent a lot of time thinking about how to make the history of science and technology more engaging, and the objects related to it more accessible. This inspired me when I was looking for a dissertation project for my MSc, so I researched and developed 'Museum Metadata Games' to explore how crowdsourcing games could get people to have fun while improving the content around 'difficult' museum objects.

Unfortunately (most) collections sites are not that interesting to the general public. There's a 'semantic gap' between the everyday language of the public and the language of catalogues.

Projects like steve.museum showed crowdsourcing helps, but it can be difficult to get people to participate in large numbers or over a long period of time. Museums can be intimidating, and marketing your project to audiences can be expensive. But what if you made a crowdsourcing interface that made people want to use it, and to tell their friends to use it? Something like… a game?

A lot of people play games… 20 million people in the UK play casual games. And a lot of people play museum games. Games like the Science Museum's Launchball and the Wellcome Collection's High Tea have had millions of plays.

Crowdsourcing games are great at creating engaging experiences. They support low barriers to participation, and the ability to keep people playing. As an example, within one month of launching, DigitalKoot, a game for National Library of Finland, had 25,000 visitors complete over 2 million individual tasks.

Casual game genres include puzzles, card games or trivia games. You've probably heard of Angry Birds and Solitaire, even if you don’t think of yourself as a 'gamer'.

Casual games are perfect for public participation because they're designed for instant gameplay, and can be enjoyed in a few minutes or played for hours.

Easy, feel-good tasks will help people get started. Strong game mechanics, tested throughout development with your target audience, will motivate on-going play and keep people coming back.

Here’s a screenshot of the games I made.

In the tagging game 'Dora's lost data', the player meets Dora, a junior curator who needs their help replacing some lost data. Dora asks the player to add words that would help someone find the object shown in Google.

When audiences can immediately identify an activity as a game – in this the use of characters and a minimal narrative really helped – their usual reservations about contributing content to a museum site disappear.

The brilliant thing about game design is that you can tailor tasks and rewards to your data needs, and build tutorials into gameplay to match the player’s skills and the games’ challenges.

Fun is personal – design for the skills, abilities and motivations of your audience.

People like helping out – show them how their data is used so they can feel good about playing for a few minutes over a cup of tea.

You can make a virtue of the randomness of your content – if people can have fun with 100 historical astronomy objects, they can have fun with anything.

To conclude, crowdsourcing games can be fun and useful for the public and for museums. And now we're going to hear more about working with the public… [the end!]

How to get published – Interface 2011 conference notes

These are my notes from the 'how to get published' session at InterFace 2011 – I've summarised some of the advice here in case it may help others, with the usual caveat that any mistakes are mine, etc.

Charlotte Frost spoke (slides) about 'PhD2Published', a site with advice, support and discussion about getting academic work published. As the site says, "Don’t underestimate how much of getting published comes down to knowing: A) How publishing works and what’s expected of you as a writer. B) Being professional, adaptable and easy to work with".  She made the excellent point that if the jobs aren't out there, you could pour your energies into getting your book pitched and written.  You also need to work out whether a book, journal articles or a mixture would work best for you (especially, I'd imagine, as publishers are taking on fewer books in this financial environment).  Thinking of academic publishing as part of the incremental progression of your career is useful – you don't need to cram everything into one book.

Specific tips included:

  • make the book what you wish your thesis had been 
  • thinking about the book you wish you'd had available as an undergraduate also helps make your book marketable 
  • collect a list of courses that would put your book on their reading list (and why) 
  • consider the way that your book contributes to the identity of the publishing house and could make it a covetable feature 
  • bear the current financial situation in mind and include as much solid sales evidence as you can 
  • look at how publishing is changing and think about appropriate formats for your work 
  • think about where audiences for your work might be 
  • find out how publishers would like you to pitch and stick to their guidelines 
  • the tone of your pitch should be about why your book is a must-read (not a must-write) 
  • look for series or lists with publishers and tell them how your book would fit in that strand 
  • nail the very short text-only description right from the start 
  • find out if there are grants or awards that could support the publication of your book and let the publisher know 
  • line up a well-known and relevant academic to write a foreword for your book 
  • build and promote an expertise that's tangential and helps bring other people to your work.
The next speaker was Ashgate's Dymphna Evans with lots of useful and realistic advice on 'Publishing your Monograph' (slides).  She started with the importance of choosing the right publisher – find someone who peer reviews, talk to colleagues about their experiences, and find publishers with lists or series in your field. Interestingly, she said it's ok to choose more than one publisher (it will speed up the process, and you'll get more feedback on your proposals), unless of course a publisher contacted you first.

Following the guidelines on a publisher's website is vital – and check your proposal once you've completed it. You can send sample chapters but she doesn't recommend you write the whole thing upfront in this current financial environment. Don't send stuff you feel will need more work – publishers don't have time to deal with it. Be aware of commercial considerations (most publishers require a minimum sale (maybe 300 books) but it doesn't have to be a best seller). Be prepared to re-write your thesis. It helps to have published journal articles based on parts of your thesis if they can be re-written for the book. Ashgate have a guide on 'transforming your thesis into a book' (PDF) on their website, and they also have general Proposal Guidelines for Humanities and Social Science authors.

Tips for your book proposal – choose a good title and prepare a thorough synopsis of each chapter. Be realistic about the deliery date. Think about illustrations (e.g. copyright). Don't undersell yourself as an author. Consider the audience for your book (e.g. in Digital Humanities, don't underestimate the professional audience for your book… draw out the practical applications of your research for professionals.). Ensure the proposal covers everything.

When making decisions, publishers consider factors including whether your book may fit in a series and whether it will meet sales expectations, and your proposal is peer-reviewed.  Peer reviews are subjective, so don't be discouraged if they're negative.  
If you get a publishing contract – read through it, check clauses with publisher if you're not happy or don't understand them. Check delivery date and conditions of delivery. Check which rights you are transferring (don't need copyright, just publication rights). Is an e-book planned?
Read the publishers guidelines before preparing your final manuscript; clear all your copyright permissions and think about illustrations. [Which is useful advice even if you're just writing a book chapter].  The editorial process includes a peer review of the final text (allow 8-10 weeks); marketing; editorial work; then finally the book is published (5-6 months after submitting)!

The final presentation in this session was Julianne Nyhan on 'Book reviewing and the post-graduate' (slides).  Despite the title, she included websites, exhibitions, emerging technologies as well as books in her tips. Interdisciplinary Science Reviews publishes traditional reviews of about 2,500 words, and 'review articles' of about 7,000 words. Review articles are a a synthesis of existing works with the aim of reaching new conclusion or interpretations.

At the simplest level, reviewing books is a way to expand your library. Reviews aren't peer reviewed in the strictest sense (though there is a quality bar), but review articles consistently appear among most cited papers in a given field, and it's a way for post-graduate students to use stuff they can't include in their thesis while getting their name and expertise known out there. It also gives you experience working with editors and publishers.

How to go about publishing book reviews:

  • Identify appropriate journals, establish their scope and mission, and review their reviews. 
  • Write a short email to Book Reviews Editor including: research area; details of previous reviews or publications; books requested/suggested (or types if nothing currently listed). Make a reasonable impression in your cover note. 
  • Agree on a realistic date for submission and keep to it. Iterate with editor about corrections and finally proof copies of work. 

There's lots of information online on the hallmarks of a good review – it's not simply a summary but a contextualisation of research – how does it relate to others in the field? Does it advance knowledge in some way? Discussion of the work in the wider intellectual context is an opportunity for you to make interesting connections and bring your personal viewpoint to the review. Be fair and balanced with well-justified and accurate criticisms/points of approval. Never use a big word where a small word will do; never use two words when one will do. Be careful of jargon – ask a colleague in another field to read.

You should look at journal ranking when identifying journals, but maybe rank is less important than whether the journal is open access (and is therefore likely to have higher impact).

Quick PhD update from InterFace 2011

It feels like ages since I've posted, so since I've had to put together a 2 minute lightning talk for the Interface 2011 conference at UCL (for people working in the intersection of humanities and technology), I thought I'd post it here as an update.  I'm a few months into the PhD but am still very much working out the details of the shape of my project and I expect that how my core questions around crowdsourcing, digitisation, geolocation, researchers and historical materials fit together will change as I get further into my research. [Basically I'm acknowledging that I may look back at this and cringe.]

Notes for 2 minute lightning talk, Interface 2011

'Crowdsourcing the geolocation of historical materials through participant digitisation' 

Hi, I'm Mia, I'm working on a PhD in Digital Humanities in the History department at the Open University.

I'm working on issues around crowdsourcing the digitisation and geolocation of historical materials. I'm looking at 'participant digitisation' so I'll be conducting research and building tools to support various types of researchers in digitising, transcribing and geolocating primary and secondary sources.

I'll also create a spatial interface that brings together the digitised content from all participant digitisers. The interface will support the management of sources based on what I've learned about how historians evaluate potential sources.

The overall process has three main stages: research and observation that leads to iterative cycles of designing, building and testing the interfaces, and finally evaluation and analysis on the tools and the impact of geolocated (ad hoc) collections on the practice of historical research.

The rise of the non-museum (and death by aggregation)

A bit of an art museum/gallery-focussed post… And when I say 'post', I mean 'vaguely related series of random thoughts'… but these ideas have been building up and I might as well get them out to help get them out of 'draft'.

Following on from various recent discussions (especially the brilliantly thought-provoking MCG's Spring meeting 'Go Collaborate') and the launches over the past few months of the Google Art Project, Artfinder and today's 'Your Paintings' from the BBC and the Public Catalogue Foundation, I've been wondering what space is left for galleries online.  (I've also been thinking about Aaron's "you are about to be eaten by robots" and the image of Google and Facebook 'nipping at your heels' to become 'the arbiter of truth for ideas' and the general need for museums to make a case for their special place in society.)  Between funding cuts on the one hand, and projects from giants like Google and the BBC and even Europeana on the other, what can galleries do online that no-one else can?

So I asked on twitter, wondering if the space that was left was in creating/curating specialist interest and/or local experiences… @bridgetmck responded "Maybe the space for museums to work online now is meaning-making, intellectual context, using content to solve problems?"  The idea of that the USP of an museum is based on knowledge and community rather than collections is interesting and something I need to think about more.

The twitter conversation also branched off into a direction I've been thinking about over the past few months – while it's great that we're getting more and more open content [seriously, this is an amazing problem to have], what's the effect of all this aggregation on the user experience?  @rachelcoldicutt had also been looking at 'Your Paintings' and her response was to my 'space' question was: "I think the space left is for curation. I feel totally overwhelmed by ALL THOSE paintings. It's like a storage space not a museum".  She'd also just tweeted "are such enormous sites needed when you can search and aggregate? Phaps yes for data structure/API, but surely not for *ppl*" which I'm quoting because I've been thinking the same thing.

[Update 2, July 14: Or, as Vannevar Bush said in 'As We May Think' in 1945: "There is a new profession of trail blazers, those who find delight in the task of establishing useful trails through the enormous mass of the common record."]

Have we reached a state of 'death by aggregation'?  Even the guys at Artfinder haven't found a way to make endless lists of search results or artists feel more like fun than work.

Big aggregated collections are great one-stop shops for particular types of researchers, and they're brilliant for people building services based on content, but is there a Dunbar number for the number of objects you can view in one sitting?  To borrow the phrase Hugh Wallace used at MuseumNext, 'snackable' or bite-sized content seems to fit better into the lives of museum audiences, but how do we make collections and the knowledge around them 'snackable'?  Which of the many ways to curate that content into smaller sets – tours, slideshows, personal galleries, recommender systems, storytelling – works in different contexts?  And how much and what type of contextual content is best, and what is that Dunbar number?  @benosteen suggested small 'community sets' or "personal 'threads'" – "interesting people picking 6->12 related items (in their opinion) and discussing them?".  [And as @LSpurdle pointed out, what about serendipity, or the 'surprising beauty' Rachel mentioned?]

I'm still thinking it all through, and will probably come back and update as I work it out.  In the meantime, what do you think?

[Update: I've only just remembered that I'd written about an earlier attempt to get to grips with the effects of aggregation and mental models of collections that might help museums serve both casual and specialist audiences in Rockets, Lockets and Sprockets – towards audience models about collections? – it still needs a lot of thought and testing with actual users, I'd love to hear your thoughts or get pointers to similar work.]

Notes from a preview of the updated Historypin

The tl;dr version: inspiring project, great enhancements; yay!

Longer version: last night I went to the offices of We Are What We Do for a preview of the new version of HistoryPin. Nick Poole has already written up his notes, so I'm just supplementing them with my own notes from the event (and a bit from conversations with people there and the reading I'd already done for my PhD).

Screenshot with photo near WAWWD office (current site)

Historypin is about bridging the intergenerational divide, about mass participation and access to history, about creating social capital in neighbourhoods, conserving and opening up global archival resources (at this stage that's photographs, not other types of records).  There's a focus on events and activities in local communities. [It'd be great to get kids to do quick oral history interviews as they worked with older people, though I think they're doing something like it already.]

New features will include a lovely augmented reality-style view in streetview; the ability to upload and explore video as well as images; a focus on telling stories – 'tours' let you bring a series of photos together into a narrative (the example was 'the arches of New York', most of which don't exist anymore).  You can also create 'collections', which will be useful for institutions.  They'll also be available in the mobile apps (and yes, I did ask about the possibility of working with the TourML spec for mobile tours).

The mobile apps let you explore your location, explore the map and contribute directly from your phone.  You can use the augmented reality view to overlap old photos onto your camera view so that you can take a modern version of an old photo. This means they can crowdsource better modern images than those available in streetview as well as getting indoors shots.  This could be a great treasure hunt activity for local communities or tourists.  You can also explore collections (as slideshows?) in the app.

They're looking to work with more museums and archives and have been working on a community history project with Reading Museum.  Their focus on inclusion is inspiring, and I'll be interested to see how they work to get those images out into the community.  While there are quite a few 'then and now' projects focused on geo-locating old images around I think that just shows that it's an accessible way of helping people make connections between their lives and those in the past.

A quick correction to Nick's comments – the Historypin API doesn't exist yet, so if you have ideas for what it should do, it's probably a good time to get in touch.  I'll be thinking hard about how it all relates to my PhD, especially if they're making some of the functionality available.

'Share What You See' at hack4europe London

A quick report from hack4europe London, one of four hackathons organised by Europeana to 'showcase the potential of the API usage for data providers, partners and end-users'.

I have to confess that when I arrived I wasn't feeling terribly inspired – it's been a long month and I wasn't sure what I could get done at a one-day hack.  I was intrigued by the idea of 'stealth culture' – putting cultural content out there for people to find, whether or not they were intentionally looking for 'a cultural experience' – but I couldn't think of a hack about it I could finish in about six hours.  But I happened to walk past Owen Stephen's (@ostephens) screen and noticed that he was googling something about WordPress, and since I've done quite a lot of work in WordPress, I asked what his plans were.  After a chat we decided to work together on a WordPress plugin to help people blog about cool things they found on museum visits.  I'd met Owen at OpenCulture 2011 the day before (though we'd already been following each other on twitter) but without the hackday it's unlikely we would have ever worked together.

So what did we make?  'Share What You See' is a plugin designed to make a museum and gallery visit more personal, memorable and sociable.  There's always that one object that made you laugh, reminded you of friends or family, or was just really striking.  The plugin lets you search for the object in the Europeana collection (by title, and hopefully by venue or accession number), and instantly create a blog post about it (screenshot below) to share it with others.

Screenshot: post pre-populated with information about the object. 

Once you've found your object, the plugin automatically inserts an image of it, plus the title, description and venue name.

You can then add your own text and whatever other media you like.  The  plugin stores the originally retrieved information in custom fields so it's always there for reference if it's updated in the post.  Once an image or other media item is added, you can use all the usual WordPress tools to edit it.

If you're in a gallery with wifi, you could create a post and share an object then and there, because WordPress is optimised for mobile devices.  This help makes collection objects into 'social objects', embedding them in the lives of museum and gallery visitors.  The plugin could also be used by teachers or community groups to elicit personal memories or creative stories before or after museum visits.

The code is at https://github.com/mialondon/Share-what-you-see and there's a sample blog post at http://www.museumgames.org.uk/jug/.  There's still lots of tweaks we could have made, particularly around dealing with some of the data inconsistencies, and I'd love a search by city (in case you can't quite remember the name of the museum), etc, but it's not bad for a couple of hours work and it was a lot of fun.  Thanks to the British Library for hosting the day (and the drinks afterwards), the Collections Trust/Culture Grid for organising, and Europeana for setting it up, and of course to Owen for working with me.  Oh, and we won the prize for "developer's choice" so thank you to all the other developers!

Notes from Gamecamp 4, London

Here are my thoughts from Gamecamp 4 (#gc4), an unconference held at London South Bank University on Saturday, May 14. Overall I had a great time, and managed to put some faces to names as well as catching up with people I knew. I don't think I learnt anything startling, but some of the sessions were great for helping me rediscover bits I already knew and clarify thoughts on other things. That might be a sign that I've been spending too much time thinking about games lately, or that the field is so huge and diverse that the chances of any session being on a topic that interests me and having the same approach (e.g. not video games) is smaller.

I also ran a session on 'hacking museum games' with Katy Beale to try to find out whether the excellent people at the event thought it was possible to run a hack event to produce new games with museums, get a sense of who'd be interested and hopefully learn from other people's experience with hack-type events with people new to games. I've written up the notes I took at the time, but would also love to hear from people who have more thoughts.  It wasn't in that session but based on other activities going on at the unconference I decided my new dream is to have a museum zombie larp.

So, onto notes from other sessions… They're really rough, sorry!  I haven't got the names or twitter IDs of the speakers, so please let me know if you know them.

5 tips to improve your game run by Graham McAllister
1 comparing controls (before building) – e.g. do a heuristic comparison of control methods like direct manipulation, d pads with requirements eg small controlled movements, big movements
2 tutorials – the art of integrated game tutorial design – make a list of everything you want the player to be able to do. Think of the ideal player (probably you cos you'll really know your game). Is there a safe space to practice the skills you want people to learn?  Integrate tutorials into gameplay – how? Use characters to deliver instructions. Can show them, tell them (text or audio) or get them to practice it.
3 involve users – but if you're play testing, don't ask them what they think. Ask people to draw their experience at the end – they remember the initial experience and the end, maybe something big in the middle. They won't remember the details afterwards. So how? Record it then walkthrough. Biometrics or observe the video and take them back to the moment afterwards and ask them, you'll get much better detail. [I nearly asked if anyone else did usability test-style think aloud testing but figured probably not as most people seemed to be video game developers]
4 recruit users – demographics; psychographics (internal motivations etc)
5 ux acceptance – define success tests. Write success tests for game ux acceptance – things the player should experience, not technical stuff; gives you something to keep working towards.

Suggestion from discussion – get a mirror and play through it, use your foot on the mouse to replicate experience of playing your game for the first time. [Great idea for empathy with newbie players]

[Update: I've come across some really detailed notes from this session, so go read Five tips to improve your game if you're interested in usability testing for games. Also, I didn't go to this session but there are some good notes on Can User Centered Design help games? (GameCamp report), and it's encouraging to hear that it had a good turn-out. For some reason I thought there was resistance to user-centred design in games, presumably from the same school of 'it makes boring, safe products' (which is only true if you're doing it wrong, as the notes point out), but maybe there's not.]

The failure of the fail state.
This was a quite interesting discussion, partly because people seem to have inherently different preferences, as well as variations dependent on your preferred game genres.  Posited it's better if you can die and then carry on… When is a fail state too much fail – balance between tension, high stakes and too harsh a penalty?  Or too binary – do you need to reload the game, can you recover from errors, what consequences do you need to live with? Discussion of the difference between creating tension because the stakes are high vs when game is completely over unless you re-start it's not good.

Other random notes from tweets:

@naomialderman pointed out 'moral choices in games are mostly shit' – yes! Crap moral scenarios put me off otherwise interesting games

Themes across sessions: 'all narrative is interactive'; we narrativise* experiences when we remember or reconstruct games *made-up word [actually, I can't really remember what inspired this, I must have had a sugar rush.]

It's always amazing the difference room setup makes in an unconference – a circle feels collaborative, desks facing the front can be 'us v them' [Owen Stephens pointed out that the circle setup is called 'cabaret' style – lovely!]

Define your purpose or others will define you (and you may not like the results)

[A re-post, as the blogger outage seems to have eaten the first version. I'm incredibly grateful to Ben W. Brumfield @benwbrum for sending me a copy of the post from his RSS reader. I've set blogger up to email me a copy of posts in future so I won't have to go diving into my Safari cache to try and retrieve a post again!]

There's a lot of this going around as the arts and cultural heritage face on-going cuts: define yourself, or be defined, a search for a new business model that doesn't injure the unbusinesslike values at the core of public cultural institutions. Mark Ravenhill in the Guardian, Global art: nice canapes, shame about the show:

Many of our UK institutions operate under a strange contradiction: most of the signals we give out suggest that we offer the international glamour, the pampering loveliness, the partnerships with banks and brands… But at the same time, we agonise about access: we want everyone to be let into the business lounge.
…
In a modern world that buys and sells information and luxury, the arts deal in something very different: wisdom, a complex, challenging, lifelong search that can make you happy and furious, discontented and questioning, elated or bored.
…
What we need now, more than ever, is a clear message about what we do and why we do it. The government has opted for swift deficit reduction and a good hack at the arts: it's up to us to set the long-term agenda for the role of the arts in public life over the next decade and beyond if we're not going to be cut, cut and cut again. Boom and bust are here to stay: capitalism will always be in a permanent state of crisis.

Nick Poole has also written on A New Way Forward for Museums, saying:

It is entirely possible to be commercially savvy, operate sharply and make sophisticated uses of licensing as an artefact of control all in the name of serving a public cultural purpose. Equally, it is possible to throw open the doors and make content universally accessible in the name of driving commercial value to the bottom-line. The cultural and commercial imperatives are not in opposition, but coexist along a spectrum of activity which runs from non-commercial, through non-transactional (things like brand equity and audience engagement) to strictly financially transactional.
…
If the financial future of museums lies in becoming commercially acute, then a key part of true sustainability will lie in recognising our place in the supply-chain of culture to consumers, and in truly understanding and embracing our core competence and their value.

…we need to recognise that focussing on our core competencies and using them to create cultural assets and experiences which we can monetise (and therefore sustain) in partnership with the private sector is a story of success and advantage, not failure or loss.

His post has some interesting suggestions, so do go read it (and comment).

Nick also describes a vision "of a world in which museums have renegotiated the social contract with the public so that people everywhere understand that museums are places where culture is made and celebrated, rather than preserved and hidden from view" – it's easy, in my happy little bubble, to forget that many people don't see the point of museums. Some I've talked to might make an allowance for the big national institutions, but won't have any time for smaller or local museums. Working out how to deal with this might mean changing the public offer of these museums – or is it too late? There's a silent cull of museums happening in the UK right now, and yet I don't hear about big campaigns to save them. What do you think?

Thoughts towards the future of museums for #kulturwebb

Last week I was in Stockholm to give a talk on 'Museum Crowdsourcing Games: Improving Collections Through Play (and some thoughts on re-inventing museums)'.  Again, my thanks to @kajsahartig and @nordiskamuseet for the invitation to speak, and to all the lovely people I met for sharing their own stories with me, and for listening to a talk in English. The quote of the day came from @charlotteshj during a panel discussion on museums and innovation at the end of the day: digital museum collections should be 'shareable, spreadable and nerd-friendly'.

Based on what I learnt about the audience I ended up including more explanatory material on museum crowdsourcing games and didn't really have time for the 're-inventing museums' bits, so I thought I'd share those notes here.  It's still very much a work-in-progress but since there are so many smart people thinking about the same subject, it's worth sharing for comment… (Also because Jasper Visser, who is also thinking about the future of museums, asked me what I was going to say. Btw, Jasper's #kulturwebb talk inspired the whole room, watch the video on his post about it.)

I know the future of museums lies in fitting into people's lives as well as being a destination; being the cathedral and being in the bazaar. Cultural heritage needs to be 'out there' to help people value and make time for visits the physical place.  It's about new types of engagement and outreach. It's not all digital, but as the world is networked and mobile and social, we should be too.

I was thinking about new metaphors for museums – what if we were Amazon? A local newspaper? A specialist version of Wikipedia? A local pub? A student blog? A festival, a series of lectures, or a film group? A pub quiz? Should a museum be at the heart of village life, a meeting place for art snobs, a drop-in centre, a café, a study space, a mobile showroom?

But I realised that the answer to the question of the future of museums is deeply personal to any museum, because museums exist in the intersection of their collections, their fans and their local audiences. This is good, because it means you can apply your existing knowledge about what your audiences love about you.  The answer to the question 'what would your museum be if it was invented in 2011?' is up to you…

Every time I approach the question of the future of museums, or of how the future of museums will be informed by what's happening the world today, I seem to come at it from a different angle. Today I'm wondering about the implications of the fact that there are no (g-rated) offline activities anymore – people will do almost anything with their mobile in one hand, and could be doing anything from googling to find out more about the museum object in front of them to looking up the lyrics of that one-hit wonder from that summer they went camping with friends.  Their head could be in any space as well as in your space.

I'm also thinking about outreach, whether improving wikipedia articles, snippets of local history on the back of pub toilet doors or putting a museum exhibition in a truck and taking it to kids in the outer suburbs.  Tomorrow I'll wake up with some new 'what if?' in my head. And I'm curious – what are you thinking about the future of museums?