Traces Booklet

TECHNOLOGY especially not if you have one person wearing even though you don’t see them on the screen. so this is why we film the full body. different costumes. So, we had to figure out a But for some of the stakeholders, that was im- way to mask that. There were a lot of first time portant. We couldn’t guess this beforehand. And Why did you choose to embed video clips in things, but that’s what we like as a company. The even if it was right in the first version, they would the AR, instead of computer-generated ani- week before we filmed was incredibly stressful; still have had feedback. In each project there is mations? Why did you choose a video instead we had to arrange everything with the actors some sort of tension between the history, which of animating it yourself? and script. One week was not much time to do has to be pinpoint accurate, and the creative it all. However, in retrospect, these were not the side. But for the next story, we know what we Realism. Sculpting a 3D model of someone’s major hurdles. Everything got done, both on our need to pay special attention to: the client must head to look exactly like the real one would be side and on the client’s side. The issues were have time to read the story. The current stake- too expensive. And even with computer-gen- caused by having other stakeholders involved, holders (a museum and a city) have two weeks erated animations, you can’t animate a person like the museums, because each of them had to read the script and give feedback, then we to look real. It would feel more like a computer their own story. The museums only had one have one week to integrate their feedback into game than a story. At the moment, we can film week in which to read the final scripts and give the script. The client has one month to arrange people in 2D, but that means you cannot walk us feedback. This wasn’t time enough for them the actors. And today we need to give them an around a character. We hope to have a volumet- to become properly involved in the process, or overview of everything that’s needed to shoot. ric video studio in 2019 to film people and use to let them know what we were doing. But there It all feels smooth and relaxed, but just only be- software to make 3D animations out of them. are so many stakeholders involved with Cross- cause of the experience we had last summer. Then they would be both realistic and 3D, so you roads that this is inevitable. In most of our proj- could walk around a soldier for example instead ects, there is only one museum or one city. It You said this was the first time the script- of watching them from only one perspective. was new to us too, taking into account so many writer had written a script for AR. Do you Suppose you want to show, say, a famous soccer stakeholders who needed to give feedback on know what the differences, or the difficulties player doing his tricks: you could just put him in the script. are when writing a script for AR? this studio, film him for like half an hour so you have him as accurate as possible and then you ACCURATE AND CREATIVE Technically, there are some things that you have the 3D asset. This is not life-like, it is life! would be able to do in a regular video but not in But we haven’t got it yet, which is why we used Were there issues caused by not being able AR. And the other way around. videos for this project. But when we have it, it to involve all the stakeholders more close- will be a big step forwards for us. ly? Were there missed opportunities in your You also said that you need one single cam- opinion? era shot, one location and you need to show Did you face any capacity issues with the the actors from head to toe: why? app? Are there any issues with video content, The videos had to be historically correct. We like the size of the files for example? didn’t know how much creative freedom we We put people in the environment around you. could have. In one case, there were small patch- If you don’t film the lower part of their bodies, Yes. We had to downsize it a lot because people es on the uniforms that had to be corrected, you have a floating torso with a head. We did don’t want to download a 10 GB app. We always this once years ago, but it really feels weird: it’s strive to get it as low as possible, but you still like you’re only putting part of the person there, want quality, so we usually aim for around 51

TECHNOLOGY “Two or three years ago, 300 MB. In this case we had 10 videos, each You also produced two versions of the app. when you captured green about five to six minutes long. In total, it’s What was the reason for that? screen footage and aug- about one hour of video in separate files. We mented it, the experience had to downsize and compress a lot. That’s We have a light version of the app and a high-end wasn’t as good as it is now- always an issue for consumer AR. version. The quality of tracking for the content is adays. We can have digital obviously better with the high-end version. We people standing on a sur- What are the possibilities of using immer- always have to explain there are different types face and have shadows sion in something like a video? Can you of AR software: Apple, for example, has their and details like that. This see if there are going to be issues with own software that works for 6S or higher, so makes the experience way triggers and stuff, because obviously the most iPhones. Android uses a similar technique, more involving than it was user is moving them in different spaces. AR Core, but the devices on which you can use before.” Is this not going to become an issue with AR Core are quite limited. That’s why Brabant triggering the video then in AR? Remembers asked us to develop a light version – the main focus was Android phones. We also It depends on the surface. We use a loca- made a light version for Apple 6 or lower, so this tion to trigger a video; we say ‘we show this is really aimed at a limited number of devices. video at this location’. But it’s not an image But there really is a difference in the quality of trigger that you need to keep in your camera the experience between the light version and all the time. The software tracks the surface the high-end one. When you use the app, you and puts the 3D animation onto the surface. basically place the videos in your location: with If you are in a room with a white floor or a the high-end version, you walk towards the vid- black floor, it does not recognise the surface. eo; it’s like a plane that is really well anchored to This is one of the first things we mentioned the environment; for the low-end, light version, in our concept pitch. For example, we are the anchoring isn’t as good, so if you move your now developing a mini-game for an escape phone camera, the video floats a little. This is the room in Helsinki, and on one of the first pag- downside. We need to mention this difference in es in the concept, we wrote: if you have a our communication with the public. In a project white floor, it is not going to work, you have we did for STRP Festival (City festival Endhoven), to lay down a carpet or something. But for users understood that the high-end version was this story, the locations are determined be- a new technique that would not work on older fore filming and before making the apps. So iPhones. So they were prepared to accept that it’s a combination between GPS tracking and they might need to use the light version. But be- the kind of surface. cause we told them about this difference, they weren’t disappointed. 52

TECHNOLOGY ‘When using AR you have to take As the development team for the application, into consideration that the ge- do you even want to have a light version? Be- neral user of the app does not cause if somebody tries it and is disappoint- know what AR is. You need to take ed, won’t it reflect negatively on you instead users by the hand and guide them of showing what you are capable of? through the process step-by-step.’ For the most part, we circumvent this problem by calling it a ‘light version’. When they down- load it, people already know it’s the light version. But I think that if you asked Casper or one of our developers, they would say they prefer the high-end version. I am more on the consumers’ side… Moreover, Android covers a big part of the smartphone market. If 80% of consumers can- not use the app for Android, or they have an iP- hone that is five years old or older, we lose our consumers. It’s no good if we serve just 10-20% of the market. Obviously, the light version has a down side. So we need to ask ourselves: ‘Will this down side affect the user experience at its core?’ Here, the core function of the app is to show a video in a certain spot. The light version still does that. It may drift a bit but that doesn’t affect its core function. This is why we can still have it. But, for example, we made a game where you had to renovate an old tower: you had to place it in front of you, walk around it, put something on top, put something down. We couldn’t do that with a light version because we don’t want the 3D model to shift: if you want to place something on top of a tower and the 3D model shifts, that’s a bug, not a feature. So the choice of having a light version really depends on the core functionality of the app. 53

TECHNOLOGY With the time pressure in developing the app example, a cross or a monument and where ex- “Writing a script for a reg- that you mentioned earlier, did you also have actly they are with respect to that physical map ular movie is completely the time to look at the usability of it? And if the user is looking at). This is something that we different to writing for AR: so, how were you able to integrate it into the learnt by looking at how people were using the we show all the actors, all final product? app: they were just looking at the app and won- the time, from head to toe, dering where exactly they had to be. These are and we don’t want to have (Casper): I had to work really quickly and flexibly things that you need to know, but cannot always a lot of different shots be- on this. For me, it was basically about creating a know in advance, and for which you need peo- cause there are no camera prototype as quickly as possible. ple to try out your prototype. Based on this ex- movements.” perience, I now go to a more general user flow, (Alex): Sorry to intervene. This was not Casper’s then into wireframes, then into a low-fidelity 54 fault. We had to cut corners and we did cut cor- prototype, then implement the design parts of it. ners in the design process. In this project, I didn’t have the time for the user flow, the wireframes, and the low-fidelity pro- (Casper): I used Adobe XD. This allows you to totype. In fact, I had to basically start designing create a working prototype really quickly and it straight away. What we have in the user flow send it to colleagues and stakeholders and ask now is not bad, but we had to decide very quick- them to click through it, work through it and give ly what it was going to look like. In this way, you me feedback. This way, I can get back to the de- get into the more traditional ways of navigating sign process as quickly as possible. It didn’t take or showing a map more easily. So we had less as many iterations before we got to the final de- time to experiment with new ways of showing sign. things. And this is something I would like to have more time for. There were some issues, though. For example, we have a map, a sort of Google Maps map, STEP-BY-STEP which tells you where an AR story is happened. If you look at the map there is a cross on it so you You must have a lot of experience in con- know which street it is. But we placed the cross sumer AR applications. Is there any kind of within a radius of 10 meters. How does the user key knowledge that you need to have to take know exactly where they have to be? We have into consideration compared to industrial AR to describe it to them. So you click on the cross use? icon on the map and get a pop up with a small synopsis of the story. When you get to the physi- It is mostly in explaining how people are going cal spot, there is a smaller map with more details to use it. Your starting point should be that the which tell you exactly where the story took place and what placeholder you have to look for (for

TECHNOLOGY general user of the app does not know what AR of our job right now: we need to imagine how al campaign still needs to start. We will not know is. You need to take them by the hand and guide people are going to experience the app if they what is successful and what parts need to be them through the process step-by-step and tell don’t know what AR is. It’s the only way to explain redeveloped for another six months. them ‘Welcome! We are going to show you this it to them. So, for example, if we include a 3D and that’ and then say ‘We need to know what model, we know that we need to walk around it. Are there other elements that you consid- room you are in’. It should be as idiot-proof as But for most people this is not the case: they look er to be a measure of success? Or is it only possible. That is basically it. The user needs to be at it without knowing what to do. So you need to the number of views and whether the vid- in a well-lit environment, with enough texture, but tell them: ‘And now you need to walk around it eos have been watched to the end? am I going to tell them this before I know wheth- with your phone’. er they have the lighting and texture needed? No, We would like to see the users’ reactions, because if you start scanning the room, you could How do you know if the app is a success: do and to consider those as a measure of suc- have it scanned in three seconds. So, you only tell you have a way to measure it? cess. For us, it is a success if a lot of people them they need to be in a well-lit room if they ar- We have included Google Analytics, so we are are enthusiastic about the app. Crossroads en’t already in one. Users find it annoying to get a going to see which stories have a lot of views has some specific target groups in mind, like notification: ‘You are not in a well-lit room’ if they and whether users watch the story through to younger people and people from outside Bra- are actually in a well-lit room. So, for consumer the end. As some places are in the middle of no- bant. For us, it is a success if we get a lot of AR, we need to include the training for the app in where, it is obvious that the view counts there will people viewing the videos—because then a the app. For industrial AR, you could train people be lower than places in the middle of Breda, for lot of people are experiencing AR and the sto- for the app using a different process. example. But for other stories, including those ry—and if there are positive reactions. Down- in Breda or in Vught, we can see that users don’t loading is not enough: people also need to But we are not the right people to explain them; watch the video through to the end. We know that physically go to the respective locations. This we got used to AR years ago and for us, everything those stories are too long. We now have about is also the first of our projects with a real mar- is logical and obvious—it is normal. We don’t see 1,000 downloads. VisitBrabant is rather happy keting campaign. It is our biggest project for the difficulties anymore. This is the hardest part with these numbers because the real promotion- location-based AR. 55

TECHNOLOGY (Casper): To put it harshly, we are technically done ally short texts but they didn’t, and he was saying “This is the hardest part of once the client has paid. For me, it is a success if ‘Now I see how lazy people are.’ (General laugh). our job right now: we need the client is happy and the users who see and use to imagine how people the app know what they are doing and like it. And About the experience: how do you expect peo- are going to experience whether 10 people are using it or 1000 people, ple to use the app? They go to the site, they see the app if they don’t know as long as they like the app and are enthusiastic the things, they walk in the area and some- what AR is. It’s the only way about it, it is a success for me. thing pops up … So in the design process, were to explain it to them.” you thinking about how to get potential users (Alex): If we get tons of feedback, that would be interested? 56 also a success for me, because lots of people are using it and are thinking about it. Then we would We introduced a gaming element in it with which have achieved something. you can score points if you visit a site. For exam- ple, we have these 10 (well, 11 in a month) sto- What are critical elements, also in terms of ries, which we filmed in the green-screen studio, design, of the Brabant Remembers app, that but there are a lot of other videos, which you can would make or break the application? Or see in AR anywhere you want to. They are mini more generally, what are crucial elements in documentaries for the Omroep Brabant local TV an AR application that decides the faith of the station. So people can experience the AR in their application? living rooms. We used an old-fashioned projector; you can set it up in 3D in your living room or any- The app is not going to sell itself without commu- where else and see the mini-doc. So this is may- nication or promotion. But it’s essential that users be triggering people to go somewhere else, in the know how to use it and that it works. If the app physical space where they can collect points. In works fine technically, but the users don’t know the end, if you get enough points you can collect how to use it, in their minds, the app does not work a badge from one of the partners involved, like at all. And as we discussed earlier: this is one of some sort of poppy. You could combine visiting the most difficult things for us, to explain to them an AR video spot with visiting the museum, which how it works and how to use it. Especially consid- is closest to it. So you can go to the museum and ering that people aren’t always bothered reading then watch the video, which is a couple of screens instructions. So they get a pop-up ‘The first thing away from it, or the other way around. Hopefully to do it is…’ (Mimics a swiping movement). there will be a lot of word-of-mouth. This is always the best promotion you can get. I guess most of (Alex): I got an email today from the project man- the 1,000 downloads right now are from word-of- ager for one of our projects. Users had to read re- mouth.

TECHNOLOGY BREDA, THE NETHERLANDS INTERVIEWEE WOUTER VAN DER HORST EDUCATOR DIGITAL LEARNING (RIJKSMUSEUM) WRITTEN BY LICIA CALVI TECHNOLOGY Why you should embrace mobile phones in your museum Interview with Wouter van der Horst, Does is still make sense to distinguish between being online and offline? Educator Digital Learning at Rijksmuseum, Amsterdam With the current mobile phone culture, the boundaries between being online and offline are fading for us as a society and as individuals. For museums, these boundaries are less defined than ever before. One of our missions is to educate society and to spread culture. The technological revolution has given the museum unlimited possibilities for doing so. With mobile phones, the question of whether you are online or offline is not really relevant anymore. What we as museum see happening, is that technology is becoming a part of who we are. This is especially true in the case of young people. Their mobile phones are literal- ly an extension of their selves. As they easily become a distraction, we made a conscious choice not to put up any screens in the museum. This allows us to focus on the authentic experience between the visitors and the items in the exhibition. And we do this through a mobile first strategy. We have two apps, one general Rijksmuseum multimedia-tour app that people can download, and a web-based app called SnapGuide. Basically, we focused on a very hard-to-reach audience: 12- to 16-year-olds. Although we do get them in the museum, it is not through their free choice. They usually have to come with schools, in be- tween visits to other cultural attractions in Amsterdam. But those schools don’t participate in any of the tours, workshops or other educational programs we offer. As a result, they don’t learn as much or connect with the culture they are seeing or have that authentic ex- 57

perience. That is why we developed SnapGuide. look at how we could take away those barriers TECHNOLOGY in the museum and minimise the distance be- How did you create it? tween our collection and these young audiences. and asked them what they find interesting about That’s when we came up with the idea of using the Rijksmuseum. Was there anything in partic- We had to make sure SnapGuide wasn’t just a influencers; they’re basically famous YouTubers. ular that they felt attracted to or drawn to? One product that would let them have a good time With SnapGuide, we combine influencers and example is Ronnie Flex, who is the most famous in the museum. Technology is always a means, the principles of Snapchat. In essence, these are Dutch hip-hop artist. He has a very interesting it is never a starting point or an end goal, but video tours by famous YouTubers and artists connection with our Dutch colonial history, as can be very helpful in reaching your goals. A who have their own connection with the collec- he is Surinamese and Moluccan himself. So he is very interesting thing to do, as there is so much tion, and they give challenges to these young au- very strongly linked to our Dutch colonial history. technology out there, so many possibilities that dience. The users participate by recording their As educators, we brainstormed with him to make it is always hard for a museum to focus and to answers via Snapchat and then sharing them. A sure his tour had a very clear connection with the make a decision on what are we going to do: ‘Are very simple principle in fact. It was developed by Dutch school curriculum for Dutch colonial histo- we going to do VR or AR, or whatever?’ We start- looking very closely at our target audience, what ry. We tried to inspire students by telling stories, ed observing the behaviour of these young visi- they do and what their needs are. We wouldn’t which they can then record in their own words tors in the museum. Human behaviour is always have been able to come up with anything with- for their followers. The videos with the challeng- the best predictor of technology. So, for exam- out that approach or if we had used technology es could later be reviewed in class or used for ple, when you look at how young people behave as our starting point. But by starting with the open discussions. This is how we made sure that in the museum, you see them recording and needs of our audience, I think products like this it wasn’t just a product for fun. sharing everything they do via Snapchat or Insta- can really help. gram. Being in the museum serves as an intrinsic Did you ask for feedback from the teachers? motivation, especially when they are in front of Do you really think you are educating them in Did you organise activities in the museums famous artworks like The Night Watch (Rembrandt this way? Do you have a way to verify wheth- and put students and teachers together and van Rijn). This technology is a very interesting er, apart from the fun element, this is also let them work with this content? thing that wasn’t there 10 years ago. It has really adding something to their knowledge? changed the way young audiences move through Yes, especially in the development and research the museum. It changes their experience as well. The fun element is very important indeed. It is a phases. Before we even started building the app, great springboard into learning, especially in the we had videos in which we could test the prin- And you wanted to make the most of the op- museum, but also in the classroom itself. Just like ciples. Students and teachers played a very im- portunity… technology, a fun museum experience is always portant role in that. We also tested the content my preferred means for young audiences to ac- with the teachers to check it was linked to the Yes. So, we thought, this could be a very interest- complishing a goal, which remains learning. But school curriculum. We had three testing phases: ing thing to facilitate. But our knowledge of this because the reason they are coming in with their an early one for the concept, one for the content target audience suggests that if they still see you schools is linked to the Dutch school system and and one for the final product. as a museum, there is still a boundary or better curriculum and as teachers are going to have ex- yet, some kind of distance between you. Simply pectations about these museum visits, we simply Are there still people coming to the muse- integrating Snapchat or something like that is couldn’t say to these influencers ‘Just do whatev- um and using SnapGuide? Is there a kind of a not going to change anything. So we started to er you want’. Basically, we sat down with them trend in the number of people using the app? Are you monitoring it? 58

TECHNOLOGY “What we as a museum see happening, is that technology is becoming a part of who we are.” Wouter van der Horst • Educator for Digital Learn- has 11 million followers on Instagram and 11 ing at the Rijksmuseum • has a degree as a history million subscribers in YouTube. She’s famous teacher and a Master’s degree in Media Innova- for her Nikkie tutorials. It really helps that these tion • researched how Snapchat has revolutionised people participate in SnapGuide. the way young audiences engage with museums in his thesis • specialises in innovative ways to Now you are also investing in other areas. engage museum audiences through new tech- You have several YouTube channels for nology example. Do you see competition or inte- gration between these different digital ap- We don’t actually count the usage but we see proaches? that every single day we have two to three class- es in the museum actually participating and us- It’s not integration. It’s not competition either. ing SnapGuide. We are very happy with that. If It’s just expansion. The Internet is so vast and you consider that we launched the app two and technological possibilities are so immense that a half years ago, it is still going strong: through the view in museums is often that you have to word-of-mouth, it has become very popular. make sure everything is in one clear package. Most museums have one website. Maybe they Do you keep developing it? have Facebook, maybe they have Instagram, but it ends there. I feel that as a museum you can We still add new tours and new influencers. explore the endless possibilities of the Internet. For example, our latest tour is with Nikkie de Somebody in India or in the United States who Jager, a very popular Dutch make-up artist who is connecting with our YouTube channels would probably never connect with SnapGuide or our other apps because they would probably never come to the museum or visit our website. There are 7 billion people out there and museums 59

TECHNOLOGY Wouter van der Horst explains why the Rijksmuseum created a web-based app called Snapguide, that combines influencers and the principles of Snap- chat. In essence, these are video tours by famous YouTubers who have their own connection with the collections and give challenges to young audiences. are always focusing on the people who want to Tube channels now and each of them has a it to The Night Watch. come to the museum or trying to get people completely different target audience. So, why come to the museum. But with our YouTube not make three or twelve YouTube channels? The last episode was about nudity in art and channels, for the first time, we are not real- Why not go on Twitch or other platforms and in music videos. These videos are meant for ly focusing on conversion, nor on encourag- see what you can offer your audience there? a target audience, which is a little older than ing people to come into the museum, but on the one SnapGuide is for, that is, basically 18 bringing the museum to the world. We are And what are these YouTube channels to 35 years old. exploring the kinds of museum experiences about? we can transport to the digital sphere, and to The second channel is RijksCreative. It con- places like YouTube in particular. All these dif- One channel is called the RijksTube and there tains tutorials on how to paint like Rem- ferent channels are complementary to each we use short videos to connect our visual pop brandt, or Vermeer. That’s for a broader other. They do not overlap or compete. On culture to the collection of the Rijksmuseum. target audience, of 18- to 65-year-olds or the contrary, they add up to the audience ex- For example, in the first video, we looked at whoever is creative and wants to paint like perience. So, for example, we have three You- the Avengers movie poster and we compared the Masters. 60

TECHNOLOGY “Most museums have one The last channel is the YouTube channel of the possibilities are there. website. Maybe they have Rijksmuseum itself. Facebook, maybe they Is this your advice to other museums? have Instagram, but it ends What is the future of Snapchat in a museum there. I feel that as a mu- in your view? Yes. Focus on human behaviour; it’s the best seum you can explore the predictor for technology. And also focus on the endless possibilities of the I am not sure. I tend to focus on what’s hap- technology that has proven itself and is already Internet.” pening right now. But I see that the Internet, as out there.Too many museums look towards uncertain as it was a decade ago, is still here, the future when it comes to technology. They with new platforms coming and going. You- are focusing on VR or AR, but it is still not clear Tube for instance has been around since 2005 what added value they offer your museum or growing each day. It’s good Snapchat is so per- your visitors. When you look at the Gartner sonal, for use with your own personal group. hype cycle for Emerging Technologies (2018), Snapchat is more honest compared to other you see a spike as soon as something new platforms such as Facebook or Instagram and it comes out. Everybody has high expectations. is still the platform for honest, private interac- But, as the theory says, you have to wait until tion with your peers. I am not sure how private it gets into the ‘Slope on Enlightenment’ before it really is, but it feels private. At the moment, the potential and functionalities for museums there is no really good alternative for that. You become clear. see Facebook and Instagram trying to get into the market, and Instagram stories are now very If you focus on existing technologies and media, successful. But both Facebook and Instagram you can’t get around Snapchat and especially are constructed more for the outside world. YouTube, but also Facebook and Instagram. When it comes to direct interaction between When it comes to the educational mission in young people and their peers, I thing Snapchat museums, as an educator, I believe YouTube is is still leading and will be for quite some time. probably the best place to focus on now, be- I’d like to emphasise again that if you focus on cause people come to YouTube not to be target- the behaviour and the basic human needs, and ed with marketing messages. This is precisely look at what is going on in the museum, you what the Rijksmuseum is investing in right now. will see young audiences have a need to share Those kinds of videos don’t work on YouTube. and interact: share what they are doing and in- But educational videos and entertaining videos teract with their peers. As a museum there are do work. I think combining the two offers mu- so many ways to facilitate that behaviour and seums the biggest possibilities when it comes tap into that human need. So, for the future, if to technology, media and engaging audiences you want to do something with that, I think the outside the walls of the museum. 61

TECHNOLOGY The Rijksmuseum in Amsterdam (The Nether- lands) wants to educate society and spread cul- ture. The technological revolutions has given the museum unlimited possibilities for doing62so.

TECHNOLOGY BREDA, THE NETHERLANDS INTERVIEWEE MARNIX VAN GISBERGEN PROFESSOR DIGITAL MEDIA CONCEPTS WRITTEN BY MARNIX VAN GISBERGEN TECHNOLOGY It is About Me How museums can reach and engage with youth using digital technologies Interview with Marnix Van Gisbergen, We all can sympathize with those working in a museum that suddenly get assigned the task professor Digital Media Concepts at to reach and engage with youth. That receive the assignment to ‘simply’ entertain ‘them’ Breda University of Applied Sciences with new digital technologies. Expecting a huge increase in young visitors. Well, we all know (Media & Games) that is not so ‘simple’ as it may look. It is extremely difficult and even more of a challenge when you do not involve ‘them’ and assume they have the same needs and wants as you have. The least you should do is invite the younger audience to participate. And ask, or observe, how they behave within a museum or react to new technologies implemented within a museum. That is just what we did during the Traces project. Traces is a program that consists of work- shops aimed to help European museums on identifying, developing and sharing expertise, competences and skills required to develop and implement a digital strategy focused on audience development (see www.traces.eu). In the technology workshop, we invited around 20 youngsters that followed the Master study of Media Innovation at Breda University of Applied Sciences. These students, aged early in their twenties, have different museum ex- periences and cultural backgrounds and represent eight different countries. 63

TECHNOLOGY “Use their fear of missing out. Seeing their peers engage with a museum, will make them want to do the same” Marnix Van Gisbergen • professor Digital Media but it is actually one of the oldest storytelling Concepts at Breda University of Applied Sciences techniques in the world. Putting the audience in (Media & Games) the center of your stories and content. It means this young audience learns and engage by re- The students reflected on several new digital flecting on what it means for them. They want strategies presented by museum participants. to know how they would behave, look and inter- They also experienced new technologies such act within the context of a museum, regardless as engaging with a museum chatbot and visit- the content. The context can range from world ing a museum as a robot. They also reflected war tragedies to future fun experiences, to art on concepts that were pitched by museum development. Enthusiastic reactions arise when professionals during the workshop. The lively technology helps them to see and experience discussions and fruitful debates not only killed themselves in situations depicted in museums. some darlings (ideas), but also delivered some When using technology to make them the main key stepping-stones in how to reach and en- characters. Successful examples are game gage with youth. Some of them we would like to questionnaires where they need to answer share with you: what they would do, or what side they would choose, during war or to know about what they 1. IT IS ALL ABOUT ME. This might seem would be doing at their age living in the Roman egocentric and selfish, and to some extend it is, Empire. 2. SHARE ME. Contact with peers is key. It is of highest importance to be able to digitally 64

TECHNOLOGY share their experiences with their friends and to interact 24/7 on the spot. They need to com- and questions that are in the mind of youth. the outside world. They do not seem to care municate instantly what they experience within Identity issues, age choice dilemmas and be- about privacy or ownership. They immediate- a museum and they want to get instant feed- ing acknowledge as adults are for instance uni- ly want to share what they experience. This back on what they shared online. versal themes that spark interest. Telling sto- means that every technology or digital content ries about your museum content works better that helps them share their stories online will 4. GIVE ME SNACKS. We live in a period when using their heroes. All students reacted be used and embraced. The other way around, where stories need to be short. Experiencing positively about the example of the Rijksmuse- every attempt to block this, will be punished by content through YouTube, SnapChat and Face- um using YouTube to tell stories about paint- not wanting to visit the museum or share their book, created a ‘schemata’ for youth in which ings about topics they cared for (e.g., how and (positive) experiences. Use the fact they all have they consume and learn from short experienc- why people applied make-up and made fashion smartphones. Mobile first is as truth today as it es. Stories you want to tell in museums need decisions by using paintings as examples, see the was five years ago. Oh and do not be afraid that to be cut to easy to digest and quickly to share other chapter). when they see all the content online, or when experiences. Visual communication seems to they can access the museum digitally, that they be preferred and more easily shared (e.g., In- Technology and these tips are by no means a will not visit the museum. For the same reason stagram stories). Long stories about artefacts, guarantee that you will reach and engage them. as discussed above, they will: it is about them paintings, buildings, or whatever content you Most students never visited a museum in the interacting with the content and giving mean- are sharing, simply do not work. As frustrating past ten years, and are not planning to do so. ing to it. Not about the content itself. Use their this might be, better reach them a little, instead However, they all mentioned these recommen- fear of missing out: seeing others engage with of not reaching them at all. So focus on many dations themselves and acknowledged that a museum, will make others want to do the short stories that can easily be shared online when present, they had better museum expe- same. instead of long stories with facts that will never riences then expected on forehand. So luckily reach them. there is still a lot to win. An easy step to begin 3. DO NOT DELAY ME. Instant gratification with is to invite them over and see how you can is important. Digital sharing means sharing 5. USE MY HEROES. Of course, the con- utilize these recommendations in a technology it on the spot. Digital initiatives that help the tent needs to appeal to young people, and with you are planning to use. At least make them youth to share stories and experiences after some content this is very hard to do, regardless aware of what is out there, and that other peers the visit seem fruitless because for them it sim- of technologies used. However, even when you are visiting your museum. Or as one of the stu- ply means the news value dropped significantly cannot change your content, you can change dents said: ‘hey this was fun, let’s do this more because of the delay. New media helped them the context of the content. Use the dilemmas often.’ 65

TECHNOLOGY BREDA, THE NETHERLANDS INTERVIEWEE LUCA MELCHIONNA CU LTURAL ENTREP R EN EU R WRITTEN BY LICIA CALVI TECHNOLOGY Forget the app, choose the chatbot Interview with Luca Melchionna, What is the added value of chatbots for a museum compared to other (existing) tech- journalist and cultural entrepreneur niques/platforms that museums may already use? The specific value of chatbots is related to various considerations. First of all, the increase in the use of messaging systems by users. I think it reached its peak in 2012. This increase was so great, it has had a negative impact on various other distribution strategies – those that could not respond to this traffic. For example, institutions that were used to bring across important contents via newsletters, may have not realised that they could also reach their readers on Whatsapp to invite them to read their newsletters. Another example is in inviting potential visitors to, say, visit the Stedelijk Museum in Breda: visitors could also be reached through Whatsapp. Just add a link to bring visitors directly to the museum website. However, the museum may not be able to understand that this traffic on their website was generated by Whatsapp. If the museum uses Google Analytics, for example, they do not know what data originates with Whatsapp, as Facebook, which controls Whatsapp, has no interest in sharing that data. Of course, you can integrate your website with Facebook. But almost no museum does this, at least not in Italy; I don’t know if this is also the case in the Netherlands. And even if 66

Luca Melchionna • journalist and entrepreneur wait and see what happens to the other peo- TECHNOLOGY based in northern Italy • worked in radio and tele- ple using it before we do anything!’ In the past 67 vision • launched an online advertising company • this excessive wariness has resulted in clamor- joined the press office at the MART Museum in ous disasters. ‘Let’s wait and understand what Italy • now works as a consultant for several muse- social media is!’ is another such disaster. Now ums botanic gardens, performing arts centres and we are all losing enthusiasm about social me- theatres in Italy • teaches social media marketing dia, those who have never been enticed by it at the Trentino School of Management and the are pointing their finger and proudly declaring Fondazione Fitzcaraldo, Turin • currently develop- ‘We were right not to trust Facebook!’ Yes, sure, ing a company that focuses on conversational soft- but in the meantime, they have lost 10 years of ware and blockchain-enabled governance models close relationships with their visitors. for cultural institutions My point is: make your content available in the you did do so, you couldn’t avoid using Google rapidly growing fields of communication. And Analytics because of its added value. So using then it is up to you to safeguard and guarantee a Facebook-integrated website won’t replace the quality of that content. Of course. Google Analytics. A second issue pertains to development costs. They include both the costs of producing the It is really difficult to understand what happens content as well as the costs that the developer on these messaging systems. And whatever it offloads onto the user. is, it’s also difficult to measure. We know there is crucially important activity going on there, What are the costs of developing an app? but it is hard to cope with it for all these rea- sons. So, this is the first consideration: develop- The costs are pretty high, in terms of time and ing an instrument that distributes your content resources too. But it brings a lot of positives – on a messaging system gives you, in a very pas- like control of the interface and the quality of sive and prudent way, the certainty that your the experience — that are not present in the messages will be present in a rapidly growing messaging systems. But we are talking about context. I find that this ‘caution’ is important in costs that are very high for many institutions. In a phase where the instruments we use to ac- Italy, there are just a handful of museums that cess content are changing. can afford to pay €15,000-€20,000 to have an app developed. I don’t agree with the approach where we say ‘Oh my God, we don’t know what this is! Let’s Is this the only cost? No. There is also the cognitive cost we assume

TECHNOLOGY “I don’t agree with the ap- the user will pay to be able to use these instru- stand the interface. There is no question about proach where we say ‘Oh ments. Once an app is developed, I need to whether or not to delete them (referring to the my God, we don’t know make sure of the following elements occur: competition element among apps mentioned what this is! Let’s wait and 1. Users know it exists; above). The use of these instruments is already see what happens to the 2. They download it; so deeply ingrained that users do not feel put other people using it be- 3. They learn to use the app interface; upon. More importantly, their use does not in- fore we do anything!’ In the 4. They have sufficient memory or battery terfere with the actual museum visit. Opening past this excessive wari- on their smartphone. Messenger and using it for part of the actual ness has resulted in clam- museum visit, accessing some key information orous disasters.” Additionally, as an institution, I also want to about the exhibit and then putting the smart- maintain a relationship with this user, so I have phone away to concentrate on the items on to bear the cost of keeping the app on their display, is much easier than opening an app, smartphone. This app (and the experience con- understanding how it works, using it, etc. nected to it) has to be so nice, it competes with all the other wonderful apps that users have on The last issue – still a relevant one – is renting their smartphones. In the past, we had a low- the devices. As a company, we are working with er threshold about which apps to keep on our museums that still prefer to rent out audio smartphones. This is why the app a museum guides. We have noticed that, after trying chat- develops needs to stand out. bots, they realise chatbots free them from the need to have recharging areas. The chatbot de- From all this we can conclude that developing vice belongs to the visitor. This is a great advan- an app is not a neutral decision at all, neither tage, especially for smaller museums: there’s in terms of production costs, nor costs for the no space needed to rent out devices, nor to re- user. The museum is asking a lot of users: their charge them; there are no costs for batteries, time, their attention, and bandwidth to down- or personnel to distribute the devices, etc. load the app. And this request may be at the ex- pense of the museum experience itself: down- And what is the cost of developing a chat- loading and using the app can take time away bot? The software is already present on from physically visit the museum. This is clearly most smartphones, as you said. But you still not what museums want. need to develop the content … To conclude: developing an app has a lot of When you develop a chatbot, the cost is almost costs. Developing a chatbot does not: Messen- half of the cost of developing an app. There’s no ger or Telegram are already installed on most cost for developing graphics – you simply use smartphones. Users already know how to use Messenger or Telegram graphics for example, them; this removes the cost of having to under- as this software is already on your smartphone. 68

TECHNOLOGY For Luca Melchionna chatbots re- present an opportunity to deepen one’s knowledge. Moreover, com- pared to social media, newsletters, and even blogs, they are a promi- sing way to engage users more. But what does remain, indeed, is the high cost for MAXXI took three to four months of devel- Whatsapp.’ In a couple of other projects I was of developing content. Or audio. But the costs opment. involved in, museums wanted us to develop of the graphics and programming are heavily an app no matter what. The reasons that had reduced. And do you know of museums that have nothing to do with increased communication developed their own chatbot platforms, be- or improved customer relationship, just politics What about production times? cause they didn’t like Messenger, Telegram and strategy. or what else was already out there? Does It depends on the content of the conversation. this make any sense, in your opinion? And what about the conversation? If this is only about service information (open- ing times and where to find what), a chatbot For me, it makes sense only if it also runs on A chatbot is software that manages a conver- can easily be developed in a month. When the Whatsapp. I was involved in a project where sation with a user. If this conversation is poorly conversation becomes more complex and re- a museum asked us to develop an app (chat- designed, the resulting user experience will be quires some degree of Artificial Intelligence (AI), bots can also run in apps) with the remark ‘This rather disappointing. However, when it is well like with MAXXI, it will take longer. The chatbot isn’t on Whatsapp yet. Let’s wait till it comes on designed, its duration is short and the user is 69

TECHNOLOGY willing to invest time, attention, desires and sarily communication specialists and certainly forms, like blogs, newsletters or even the mu- emotion, the content in the conversation is su- not ITspecialists, although these professionals seum website) because this would no longer be perior to what normally takes place on social would need to know the basics to understand functional. Chatbots use a different dynamic. media. The average length of the interactions an interface and its functioning. A computer Let me explain this with an example from the with chatbots is much longer than when inter- science specialist is still needed. But the person work I did for the MAXXI museum in Rome. acting on Facebook or Twitter. The reason for in charge of the content to put on the chatbot They recognise different types of public: those this is that the way the conversation is designed also needs to understand what they are doing who just need to understand where to go (the activates something at a personal level that is from a technological point of view. In fact, every building, designed by Zaha Hadid, has a very much more gratifying. The trick is therefore museum has at least one IT specialist. What is complex layout) and those interested in the ar- to design such conversations well. Otherwise, really missing are the intermediate figures: not chitecture of the building. For them, as well as when the content provided is of low quality or real IT specialists, but not communication spe- the elementary information that the first group the user does not understand what you are cialists, just people who design the chatbot con- of visitors is looking for, it is also important to telling them, instead of a gratifying experience, versation. This is much more complicated and understand more about the architecture of the it can become a frustrating one. For example, there isn’t a clear professional figure out there building and even access the national architec- the chatbot in use at the Anne Frank Huis keeps yet. Who can do this: The marketing specialist? tural archives that are hosted in the museum the user’s attention so high that it competes The publicist? Possibly, but only if they under- itself. At the start of the conversation, the chat- with their website in terms of duration and the stand something about programming logic bot asks the visitor where they are (e.g. on the depth of the content. (for example, HTML, to be able to take care of MAXXI square) and whether they simply need in- the museum website). We could call this new formation on how to move inside the building So, for me, chatbots represent an opportunity professional figure the ‘conversation designer’: or also want information on the architecture. If to deepen your knowledge. Moreover, com- they have a background in Digital Humanities the visitor selects this option, the chatbot tells pared to social media, newsletters, and even and can communicate and know some pro- them something about the building itself. At blogs, they are a promising way to further en- gramming. However, there are interfaces these the end of this session, the chatbot asks a more gage users. days that allow people with very little program- specific question. For example ‘Would you like ming knowledge to design experiences. So the to know something about the cement composi- What is a distinguishing consideration when threshold to programming is becoming lower tion?’ If this is the case, the chatbot invites the developing a chatbot? and lower. visitor to come closer to the wall and touch it, to discover what is so particular about the compo- The investment in people inside and outside How do you present content on a chatbot? sition. And from that point on, the conversation the museum. They need a minimum level of I imagine you cannot just take the content becomes more and more detailed, specialised programming competency (gained for exam- you have for a newsletter for example, and and focused on these architectonic elements. ple through courses on Digital Humanities) and present it ‘as is’ on a chatbot. Are there any Similarly, the language used becomes more and a high level of competency in communication guidelines to this? more specific, a niche language that only engi- and language use. Their profiles show they’re neers and architects understand. Of course, not curators, but professionals who can talk to Yes, of course, there are. The first and most the first type of visitor will never see this kind curators and can use their own lingo and trans- obvious guideline is that you do not take over of information. So we say the conversation is late it for the laymen. So, they’re not neces- the structure of other instruments (or plat- personalised. 70

TECHNOLOGY “To conclude: developing an app has a lot of costs. Developing a chatbot does not: Messenger or Telegram are already in- stalled on most smartphones.” Have you ever experienced ambiguous con- and intermediate possibilities, those two choic- tations. This is something that museums have tent during a chatbot conversation? es can also be perceived as emotionally com- already been doing, with their catalogues for promising. You force the user to adopt a lan- example. They can choose whether to be scien- Yes. What I have learnt is that, first of all, you guage that might not be theirs, or that it is too tific or popular, authoritative or informal. The must respect your users. Since the conversa- strongly connotated. length of the texts is a sensitive subject too, as tion unrolls through binary choices, you tend to they need to be particularly focused and short think in terms of choice 1 and choice 2. How- How do you know if this is the case? for the chatbot. ever, there might also be a Choice 3 that some users find important. It’s absence may be con- By testing. Sometimes I have used a light, slight- What is the average life span of a chatbot? sidered to be problematic. So you have to be ly ironic or even irreverent language because I How often do you need to upgrade it? careful not to forget all possible alternatives. thought it could fit the content in that specific This is something you discover when testing a context. But while testing it, I discovered that We still don’t know whether there will still be chatbot. For example: the visit has ended. I sug- some users were not at ease with my use of chatbots next year. The technology is still very gest a few things: a visit to the bookshop or a the language. They felt it was too light because experimental and it may fade away next year. visit to the square. But what is missing (e.g. the they were expecting a tone of voice that was However, the software goes through regu- choice of ‘visiting the museum restaurant’), may in line with the importance of the institution. lar maintenance cycles. Every time something be experienced as problematic for visitors who The moment you speak through the chatbot, changes on Facebook or Telegram – so every are looking for this particular option. you are not only representing the institution, three to four months. Updates to the content you ‘are’ the institution. This is particularly true depend on the type of content: events and tem- This also applies to the use of language, espe- for the Italian public, who expects some level porary exhibitions must be updated every time cially the more emotional language. If you ask of formality from such institutions, because of they change. ‘did you like the visit?’, the typical answers are the authority they ascribe to them. This tone of ‘yes, a lot’ or ‘not at all’. Experience taught me voice has to agree with the institution itself, but Can you estimate how many visitors use not to limit yourself to extreme alternatives, it must still be verified with users through tests. chatbots? but to think also of some intermediate possi- For example, you ask focus groups whether the bilities. Apart from not considering alternative chosen tone of voice complies with their expec In fact, a more correct question would be: ‘Of 71

TECHNOLOGY those who do not take the audio guide – be- at a museum in Lucca for which we recently “What is really missing cause they consider it something for older peo- developed a chatbot, we have put a five-letter are the intermediate fig- ple, they don’t know how to use it or don’t want code and a QR code next to each artwork. By ures: not real IT special- to spend money – those who do not take the scanning the code, the user is directed to the ists, not communication directory – because they think it’s boring – and chatbot which gives information on the artwork specialists, just people those who don’t talk to the museum guides – in question. who design the chatbot because they don’t trust them – how many use conversation.” chatbots? It is on Messenger, so it’s for free, it is In my experience the best and most effective fun as there are emoijs… way is for the personnel at the ticket desk to in- 72 form visitors of the possibility of using chatbots But unfortunately, I don’t have the numbers. when they buy tickets. MAXXI has also a small But this is the audience I am addressing and for kiosk at the entrance with a nice video to show whom I am developing this specific instrument. this. A public that feels little engagement, who will never deepen their knowledge using the cata- What is the user and museum experience on logues or the audio guides. the use and adoption of the chatbots? For MART in Trento (Museo d’arte moderna e From the user tests done for MART, a few things contemporanea di Trento e Rovereto), as far as have emerged: I can remember, there were certain days where 1. Users were pleasantly impressed by the chatbots were used by 10 to 15% of the total language used – and they enjoyed visiting the visitors. But this is a few years old. At that mo- museum with something that was engaging ment, bots were only on Telegram, and as they them in a conversation; weren’t on Facebook yet, only a few people 2. They were happy to have an instrument could use them. with which they could solve ‘problems’ by them- selves (e.g. not only finding information but And how do these less engaged visitors also discovering a place they didn’t know about come to know that they can use bots? or being able to print a copy of a collection item – all things they didn’t expect they could do). Digital communication, particularly through Museums particularly appreciate the possibili- social media, is fundamental in this sense. But ty of doing some user profiling without it being even more important is the communication at invasive. However, the new GDPR legislation is the location, whether it’s at the ticket desk or not making things easy for us at the moment … the entrance for each exhibition room, or may- It’s our next challenge. We are already working be even next to the artwork. As an example, on a solution.

Lewis Carroll, Alice’s Adventures in Wonderland & Through the Looking-Glass ‘Well, now that we have seen each other, said the unicorn, if you’ll believe in me, I’ll believe in you.’ How it all ends with the WHO It’s not easy to be a museum nowadays. But there is a way forward. The key to success is to make connections first and to involve your audience in value creating processes. ‘It’s all about the story,’ was the thread of our workshops. And the story is about people. The people that work in the museum and the people that want to visit the museum. In their urge to keep up with the digital times museums often are blinded by technology and tools, which takes them off their path. If there is one lesson that our participants learned it is thinking about the story you want to tell and to engage people in the museum and outside the museum to share your story. To evaluate our workshops we asked our participants three questions: 1. What is your best lesson learned during the workshop(s)? 2. How did you implement the lessons learned in your museum? 3. What does your museum of the future look like? 73

KERSTIN WIESE, DIRECTOR AT BACH MUSEUM LEIPZIG, GERMANY I took part in two of the TRACES workshops and GERDA TAUMANN, VISITOR therefore had the opportunity to discuss an im- EXPERIENCE AND EVENT COÖRDINA- portant part of our interactive and sounding per- manent exhibition twice. The ideas that I got both TOR AT HEALTH CARE MUSEUM from the traces team and the participants from TALINN, ESTONIA all of Europe are very helpful for redesigning the digital concept at the Bach Museum. Particularly I especially learned to have fun and don’t be interesting during the second workshop were the afraid to try new things! We are currently working discussions about visitor experience models such on improving our digital content and we have in- as the Smithonian’s IPOP exhibition framework corporated more story-telling aspects in our work and their use for developing digital strategies for with the visiting groups. museums. To visit wonderful museums such as Kazerne Dossin and Museum Hof van Busleyden My museum of the future is willing to experiment in Mechelen that use digital technology innovati- and try new things. It offers a personalized expe- vely was also very inspiring for me. rience to the visitor and engages people in new exciting ways. It has a strong digital presence that The Bach Museum’s exhibition already tries to supports and expands the physical museum. Per- offer multi-dimensional experiences and, further, sonal, intriguing, multidimensional. to individualize the experiences for an internatio- nal audience with different levels of interest and 74 knowledge. In the future we would like to impro- ve our use of digital technology in order to enrich the experience of both the original items and the music, and to create deeper emotional connecti- ons and somatic sensations between the visitors and Johann Sebastian Bach and his music.

ERIK ROMBOUT, DIGITAL global structure for a contemporary and radical COÖRDINATOR AT MIDDELHEIM digital policy that plugs in to the challenges of the MUSEUM ANTWERP, BELGIUM current and future digital society and the always evolving expectations of the organisation, the au- ‘It’s all about content and stories,’ that’s the les- diences and the stakeholders. A policy that aspi- son I learned. The importance of storytelling and res to digitizing processes inside the organisati- sharing your content in a professional, inviting on, and to a synergy between sustainable digital and accessable manner, can’t be underestima- preservation of the museum collections and the ted. One of the most fundamental keypoints in physical and digital experiences of the various au- a digital strategy is to create the right tools, struc- diences. tures and processes to enhance the (digital) ex- perience of your audiences. But even when the My museum of the future is an interactive and circumstances for a perfect digital environment participatory organisation, generously and open- are established, your success predominantly de- ly sharing its content and knowledge. This mu- pends on sharing high quality content through an seum communicates on a target-group oriented appealing and engaging story. level through accessable tools. The museum re- searches diverse forms of digital participation We developed a digital strategy plan for the Mid- with audiences who engage and support the in- delheim Museum. This plan contains 6 objectives teraction with the museum and each other, con- on a strategic level and 30 objectives on an ope- cerning the museum and its exploitation as most rational level in accordance with the digital stra- important subject. Two main objectives prevail: tegy and structure of the umbrella organisation how does the museum of the futur sustainably Museums and Heritage Antwerp and the City of preserves its (digital) collections and how do we Antwerp, and inspired on the vision document of reach out to the (digital) visitor, either how to pro- the Flemish Government A Flemish cultural poli- vide a digital experience in addition to a physical cy in the digital era. The ambition of this plan is visit, or a full-fledged digital alternative equal to a to embrace an integrated vision on a clear and physical visit? The museum of the future is most of all a learning entity, flexible and eager to res- pond to the challenges of its time. 75

“I see a museum in continuous transforma- tion and open to innovation through special programmes involving students, research- ers and entrepreneurs.” VALENTINA RUSSO, MARKETING AND contemporary artworks exposed in our museum COMMUNICATION AT MART (MUSEO DI and implying a process of mechanical activation and sensorial stimulation. These definitely stand ARTE MODERNA E CONTEMPORANEA as interesting case studies for the application of DI TRENTO E ROVERETO), ITALY the digital technologies to cultural heritage aimed at enhancing the visitor’s experience. The goal of I hope that the museum of the future will be more the future would be translating these concepts and more like a place to be rather than just a place into proper actual projects. to visit. A hub for citizens, a meeting area with free spaces and talks on current issues which involve The workshop gave me the occasion to practice the whole community. Of course, it should keep some of the up-to-date tools in the field of digital on being an inclusive institution committed to im- innovation and make me more aware of the op- proving people’s life through educational projects portunities and the limits of some different tech- and contents delivered both inside and outside nological options. Above all, it confirmed the im- its venues. Furthermore, I see a museum in con- portance of creating professional networks and tinuous transformation and open to innovation multidisciplinary teams to cope with the challen- through special programmes involving students, ges of the digital transformation. The best lesson researchers and entrepreneurs. learned is to stay focused on the museum issues in order to implement the most valuable projects; Thanks to the TRACES workshop I had the op- in other words, to never forget who we are and portunity to identify and discuss technological what our mission is, also when it comes to experi- solutions to some issues which deal with the encing new technologies. 76

MADIKEN VERBOVEN, DIGITAL COM- table to discuss strategy and the future of your MUNICATION MUHKA, MUSEUM OF museum, it seems to me the chances increase to CONTEMPORARY ART ANTWERP, stay grounded in your society, a goal and challen- BELGIUM ge many of us share. The organizational challen- ge however in this case is that the culture within I wouldn’t describe the value of the workshop in can be hard to change. It’s a long term project and lessons but rather in terms of inspiration. By tal- one I’m glad to be part of but can’t be changed in king to all these colleagues from different muse- a few months. There remains a vital discrepancy ums bigger and smaller it appeared to me that we between decision making and implementing de- all share similar challenges each in our own way. cisions, both executed by different parties, who By sharing the way these museums tried to tack- not yet operate as one. Working on changing le the challenges I was able to bring back some mind sets by inspiring each other! insights home with me. The most important one to me was the idea that for a museum program A museum that is in touch with their public, that to be successful in terms of public reach it is im- is able to reach many different people, young and portant for a museum to be in touch with what is less young, art lovers and curious people alike, fa- going on in our society, with what occupies peop- milies and friends from different backgrounds. le’s minds, how they like to spend their spare time It’s a museum that is able to inspire by bringing a and what inspires them, challenges them in their colorful mix of curated art exhibitions and broa- everyday lives. To have these questions in mind der artistic activities. I imagine it having a big en- when deciding on the strategic path of a museum trance hall where people can just hang and relax, seems the start of a flourishing and meaningful find a corner to read a book or the paper, to drink program to both public and museum. coffee and where kids can run free and experi- ment with the environment and what’s on show To implement such an idea it’s important for the there. The art in this common playground should management to recognize the importance of dif- invite people to interact with it, and not just by ferent perspectives and profiles gathered around making an Instagram worthy picture in front of them, the decision makers. To have members of it. I’m talking about the kind of interaction that each museum department (communication, pro- sparks the mind, in a not too serious way though. duction, collection and so on) gather around the This space should be fun, relaxed, open. A second home for many. 77

“My ideal view is that the future Memorial Museum Passchendaele 1917 would show personal stories of the Battle of Passchen- daele in an innovative way.” LEE INGELBRECHT, PUBLIC AND ries, the former battlefields and the present heri- EDUCATION AT MEMORIAL MUSEUM tage sites of the Battle of Passchendaele tangible during a visit. So far, we would like to include a PASSCHENDAELE 1917, BELGIUM VR experience in a new temporary exhibit in the church of Zonnebeke in 2020, the first modernist The workshop about digital technology made my building of its kind in Belgium. view towards the use of innovative digital techno- logies in a museum broader and made me realize My ideal view is that the future Memorial Muse- how useful they can be to create a maximum ex- um Passchendaele 1917 would show personal perience. For our museum, experience is an im- stories of the Battle of Passchendaele in an in- portant tool in our way to explain World War One novative way. Touching the senses of our visitors and the Battle of Passchendaele to a wide public. in various ways, this would give visitors insight Besides our well appreciated hands on, trench- into the Battle of Passchendaele and make them and dug out experiences, TRACES showed me more understand what kind of personal trage- that including new technologies in our temporary dies this battle caused on both sides of the front and permanent exhibits could offer added value line. Important tools could be the use of AR or VR, as educational tools during a visit. as these technologies can help us bringing sto- ries of the past alive with maximum experience In our future digitizing-plan for the Memorial Mu- in a serene, respectful way. Also, this would allow seum Passchendaele 1917, we will include active us to bring the former battlefields, the surroun- research to find out which innovative technolo- ding landscape, inside our museum building. As gies could be applied in our current and future an ‘open museum’, referring to the former bat- museum exhibits, tours and products. We will tlefields as a last witness of the Great War is an particularly look at the possibilities of AR and VR, important key to explain those personal stories. as both are very interesting tools to bring the sto- 78

LORENA MARTIN, DIGITAL COÖRDINA- mented Reality and we are actively trying to build on TOR AT MACBA (MUSEU D’ART CON- this. At the same time, we are exploring technologies, TEMPORANI DE BARCELONA), such as web apps, especially in the area of accessibi- BARCELONA, SPAIN lity. We have a lot of ideas that, while we are unable to apply them at this time, may be realised in the fu- Taking the whole experience into account, more than ture, such as the animated poster, which was used in one single lesson, I think I took home a series of mi- the Brabant Remembers project, the use of music to ni-lessons that have made me rethink many projects accompany an exhibition and thereby changing the and actions. Technology is a resource for creating way you see it, the creation of tutorials on YouTube unforgettable experiences, and every day there are and projects exclusively for mobiles, among many new advances that make it more and more relevant. other ideas. A very interesting example is what the Rijksmuseum did with Snapchat, making the most of an existing To define the museum of the future, I borrow on the app that is very popular with young people, who concept of the cabinet of curiosities. As time passes, were the project’s target and the key to its success. museums have more and more resources through Another example is Brabant Remembers, in which which to show their collections, both items on exhi- technology becomes a window to visualise a speci- bition and in storage, to reconstruct fragments that fic era, but above all a tool for sensitising the users. previously could only be seen in books, and to inter- These are all good examples of how the application pret situations and moments from the past, present of an interesting technological project can attract and and future. If we add to this the museum’s need to increase people’s participation, and turn the visit into entertain and educate, the user will be surrounded an exciting experience, especially with the implicati- by elements and experiences such as those once ex- on and role changes on offer to the visitor. perienced by visitors entering a cabinet of curiosities. At different levels, from each of the presentations Today’s challenge is to attract visitors and invite them we have extracted very valid information that can be to be part of the experience, but not as mere obser- taken into account in relation to present and future vers. In principle, in the future this will have already projects. On the one hand, we are trying to make the been achieved and at all times it will be the visitors most of those already existent and familiar platforms, who decide what they see, and when and where they e.g. Facebook, to test the operation of the bots and see it. The museum as a physical site will be but one see if this would be appropriate to a project such as option within a whole range of available possibilities, we have in the museum, or for YouTube as a project with the virtual part featuring as the main protago- for a young public. We have also begun to research nist. Despite there being a clear path towards the private partners with whom to collaborate in order to virtual world, the reality is that cultural institutions be able to use VR and AR for specific projects around advance at a very slow pace, since priorities have re- the Collection. We have a couple of works with Aug- mained the same for years. Until we change the way institutions think and act, the necessary technologi- cal advance cannot take place. 79

RASMUS WELLING, MUSEUM INTER- “The war stories will be MEDIARY AT THE FREDERICA TOWN presented through vid- MUSEUM (MUSEERNE I FREDERICA), eo interviews with mod- ern day veterans and let- DENMARK ters from participants in the Battle of Fredericia – The visits to Kazerne Dossin and Hof van Busley- read by student actors.” den was by far the best, because it gave some di- rect ideas and inspiration to our own exhibitions 80 and on how to involve the public. It also showed the importance of both varied exhibition design and diverse ways to communicate to the public – mind and feelings are equally important. I was very impressed with the City Project as well – a great idea for democracy training. This summer we have planned an event about the Battle of Fredericia (1849). We have invited soldiers and war veterans to participate in an evening where we compare how war has affec- ted the common soldier and his next of kin then (1849) and now. The war stories will be presented through video interviews with modern day vete- rans and letters from participants in the Battle of Fredericia – read by student actors. The Traces Workshop inspired us to involve and communi- cate this way. Right now we are waiting to be ready to begin working on a new museum center which has to tell the story of the fortification of Fredericia. When we begin, I am sure that we will be able to use many of the ideas presented in the work- shops - I am looking very much forward to this.

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