going universal n proctor bgcdml 11 nov 2015

PowerPoint Presentation

Edward Hoover, 2010, from Flickr.GOING UNIVERSAL

From distributed museum to ubiquitous/pervasive museum

3http://youdescribe.org/player.php?v=uaWA2GbcnJU&prefer_d=DoubleJ

@NancyProctor 11 Nov 2015

Thai Life ad with verbal description by JJ Hunt @heyheydoublejhttp://youdescribe.org/player.php?v=uaWA2GbcnJU&prefer_d=DoubleJ

4Principles of Universal DesignPerceptible Information: communicates necessary information effectively, regardless of the user's sensory abilities.Equitable Use: useful and marketable to people with diverse abilities.Flexibility in Use: accommodates a wide range of individual preferences and abilities.Simple and Intuitive Use: easy to understand, regardless of the user's experience, knowledge, language skills, or current concentration level.


This video is designed for universal access; some of the principles it demonstrates.

57 Principles of Accessible Inclusive Exhibits1. Equitable use2. Flexibility in use3. Simple and intuitive use4. Perceptible information5. Tolerance for error6. Low physical effort7. Size and space for approach and usehttps://blog.sinabahram.com/7-principles-of-accessible-inclusive-exhibits/


Sina Bahrams blog post interpreting all 7 of the universal design principles to make museum exhibits more inclusive.

6Universal vs. Inclusive DesignUniversal Design started out in the disabilities space as an architectural practice.Universal Design has 7 rules/principles so is considered a framework or guide.But universal design is like trying to boil the oceanInclusive design speaks to a thoughtful aim of being inclusive, rather than a specific set of principles or practice. We can always be more inclusive, so iterate.Accessibility is purely a side effect of appropriate inclusive design. Sina Bahram


Youll also often hear this term, inclusive: what is the difference between universal and inclusive?

7What is Universal?Photo by Mike Lee, 2007; from the American Art Museums Flickr GroupAccessibleInclusive by designIncluded/available to everyone, e.g. universal audio tour provision


Talking about going universal today, intend both accessibility and inclusive design, as well as the means of distributing content and experiences to a universal, i.e. broadest possible, audience.

8Red ink businesses

Core assets cant be soldMission mandates access for allForever businessMax Anderson, Prescriptions for Art Museums in the Decade Ahead, CURATOR, The Museum Journal, Volume 50, Number 1 January 2007


This kind of inclusivity and universal access is mandated by the museums mission: but how to afford it?

Recruit the World!

scale up via the crowd: Smithsonian experience

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Digita11y

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From Scapes to Access App to Digita11y

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Working with community- and crowd-sourcing is the strategy of the MCA for creating verbal descriptions of images both online and in the gallery.

Verbal description of:Ana Mendieta American, b. Cuba, 19481985 Untitled (from the Silueta series) c. 1978 Gelatin silver print 16 20 in. (40.6 50.8 cm) Bernice and Kenneth Newberger Fund 1995.112 MCA ChicagoAna Mendieta, Untitled (from Silueta series), c. 1978Image:http://collection.mcachicago.org/Collection/Items/Ana-Mendieta-Untitled-From-The-Silueta-Series-C-1978Short phrase:In the black-and-white photograph, you see a small clearing of bone-dry earth, patchy weeds, and impenetrably dark trees on the horizon. At your feet lies a shallow, crudely dug trench that tapers at the end. From it, opaque, white smoke blasts out, billowing up and out of the image.Longer description:In the photograph you seem to stand in a small clearing sparsely populated with flattened weeds in the fore and middle grounds and with an uneven arc of wild grass two-thirds up the image. An impenetrably dark row of trees fills the horizon. The photograph is black and white and strongly lit, so that each blade of grass and clump of dirt casts an intense shadow. At your feet lies a short, crudely dug trench, whose excavated soil remains, forming a rim around it. The shallow slit, dug from bone-dry earth, lies in the middle of the image and tapers at the end nearest you. From the trenchs pitch-black interior, a blast of opaque, white smoke streams out, billowing directly up and off the photographs top edge.

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These approaches come straight out of 2.0 culture and the new business models that have been made possible by the Internet. So while it is not perhaps realistic or even desirable for a museum to be run more like a business, I do think that museums should be run like start-ups: iteratively developing its products and offerings in partnership with the people they serve. The beauty of initiatives like the MCAs, Wikipedia edit-a-thons, and community-based initiatives in general is that they are endlessly renewable and renewed by input from the changing audiences we serve. Here, Guggenheims Oct Wikipedia editathon on women in architecture, featured by Architecture Daily. There have now been dozens of these kinds of initiatives around the world

13Niche Markets


Chris Anderson: http://smithsonian20.si.edu/schedule_webcast2.htmlMuseums uniquely suited to serving niche audiences in the aggregate.

14Universal Business ModelsFree/included in price of admission, or otherwise subsidized for every visitorEnhances value of visit price and experienceIncreases expectations/demand for translationHuman operations as well as marketing & signage are keys to take-up rate (also for paid tours)


But what about the mass market? In addition to universal design, we need comprehensive distribution strategies to provide accessibility to the museum per our mission. How can museums move from niche appeal to mass inclusiveness?

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16Cooper Hewitts PenGOAL: 85% Take up rate (per MONAs O)9% Take up for 2011 Van Cleef and Arpels iPad appInitial take up rate was 76% in first 3 weeks after the March 10, 2015 openingAs of summer 2015, at 97% take up rate[A]t the end of the day, this is not a technology piece; the success has come about because of staff on the floor. Seb Chan


http://showcase.museumsandtheweb.com/cooper-hewitt-smithsonian-design-museum/further-questions/See also: http://mw2015.museumsandtheweb.com/paper/strategies-against-architecture-interactive-media-and-transformative-technology-at-cooper-hewitt/

17Personal Collecting


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And there are of course plenty of examples of collecting around the web, and have been for some time, with varying levels of accessibility and inclusivity in their design.

20Factors of SuccessInterest/timeVisibility (marketing & human promoters)Ease of use and understanding, including terminologyA natural, intuitive gesture, e.g. dialing, taking pictures, sharing


But the factors of success in personal collecting that Silvia Filippini Fantoni and others identified a decade ago still hold across platforms and for other experiences as well. All are characteristics of inclusive design principles at work: Interest/time = Flexibility in Use (universal design principle #2): The design accommodates a wide range of individual preferences and abilities. Visibility (marketing & human promoters) = Perceptible Information (universal design principle #4): The design communicates necessary information effectively to the user, regardless of ambient conditions or the user's sensory abilities.Ease of use and understanding, including terminology = Simple and Intuitive Use (universal design principle #4): Use of the design is easy to understand, regardless of the user's experience, knowledge, language skills, or current concentration level. A natural, intuitive gesture, e.g. dialing, taking pictures, sharing = Low Physical Effort: The design can be used efficiently and comfortably and with a minimum of fatigue.Size and Space for Approach and Use: Appropriate size and space is provided for approach, reach, manipulation, and use regardless of user's body size, posture, or mobility. (universal design principles #6&7)

21Factors of SuccessInterest & timeVisibilityEase of useNatural gesture

1. Equitable Use2. FlexibleX3. Simple & IntuitiveX4. PerceptibleX5. Tolerance for errorX6. Low physical effortX7. Size & SpaceX


Equitable Use: The design is useful and marketable to people with diverse abilities.Flexibility in Use: The design accommodates a wide range of individual preferences and abilities.Simple and Intuitive Use: Use of the design is easy to understand, regardless of the user's experience, knowledge, language skills, or current concentration level.Perceptible Information: The design communicates necessary information effectively to the user, regardless of ambient conditions or the user's sensory abilities.Tolerance for Error: The design minimizes hazards and the adverse consequences of accidental or unintended actions.Low Physical Effort: The design can be used efficiently and comfortably and with a minimum of fatigue.Size and Space for Approach and Use: Appropriate size and space is provided for approach, reach, manipulation, and use regardless of user's body size, posture, or mobility.

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EQUITABLE


Whats most often missing in products and services, including collecting/bookmarking experiences, is Equitable Use: The design is useful and marketable to people with diverse abilities. Yet this is the key to going universal both in terms of inclusive design, and connection with the broadest possible market, composed of both niche and mass audiences and therefore to realizing the museums mission. So if I were to summarize this talk in one phrase, it would be to assert that going universal means being equitable. It means taking on board from end-to-end the principles of universal design in order to create not just more inclusive experiences and museums, but better ones for everyone.

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DISTRIBUTED


I first used this image of the roof of the Kogod Courtyard at the Smithsonians American Art Museum and National Portrait Gallery in attempting to describe the shift that had been happening for some time already, from museum as Temple to the Muses, to Museum as Agora: a civic place of engagement and participation, composed of not just museum experts and objects but also communities and conversations from around the world.

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As the museum grows as a community platform online and in person, it has the potential to become so much more than a destination - also a constant companion: a pervasive museum

25The Pervasive Museum


We can start to imagine the Museum as a network of access points that provide equitable use and enjoyment of the full breadth of human creativity and ingenuity.

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Eric Whitacre Virtual Choir 4


And if that sounds like Utopia, heres a little musical illustration to fly us there: Eric Whitacres Virtual Choir. As we watch and listen to this crowdsourced, online performance, Id like to ask you to think about how you would verbally describe the action and the music to someone who might not be able to see or hear it as you do. Can we enter into a pas de deux with both the work and other participants that weaves a complex, poly-vocal, and more democratic museum experience as a multi-dimensional web?

27Eric Whitacre Virtual Choir 4

https://www.youtube.com/watch?v=Y8oDnUga0JU

going universal n proctor bgcdml 11 nov 2015

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