Presentation from the Minnesota Council of Nonprofits conference, April 12, 2016. Topics: Storytelling in an art museum, audience engagement, open source software, The TDX Project, iterative development, evaluation.
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“Never overestimate your audience’s knowledge and never underestimate their intelligence”
- Glenn Frank (1887-1940)
Thomas Struth “Audience 1 (Galleria Dell Accademia), Florenz”, 2010.51.2, Minneapolis Institute of Arts
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Human beings prefer narrative – no one speaks in
database
Language processing
Language comprehension
Smells
Emotions
Emotional
reactions
Memories
Motor cortex Visual Images
Your Brain on Facts Your Brain on Stories
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PARTICIPANTS
CONTENT: Overall Interpretive Framework
The majority of our audiences do
not come to us with deep prior
knowledge. In order to engage
them, it is our responsibility to
deliver content that meets
multiple and varied needs.
GENERAL PUBLIC
THE ENGAGED, CURIOUS
NICHE
Snorkeling
Scuba diving
Surface swimming
Wading
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Ambition
• Establish a modern approach
• Engage audiences via digital platforms
• Overall TDX Project Goals
- Social interaction
- Informal learning
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TDX Phases
• Phase 1: Africa
Leverage redesigned African Galleries to launch new digital interpretation tools
• Phase 2: Collection Highlights
Museum-wide launch of ArtStories on iPads in the galleries via a responsive design website—
also works on vistors’ smartphones, digital tablets, or personal computers
• Phase 3: Japan
Deeper dive into Mia’s growing collection of Japanese art
• Phase 4: Global Maps
IMLS-funded effort, using geography to structure stories
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Evaluated Existing Platforms
Pachyderm Omeka
IMA TAP Open Exhibits
AIC Launchpad
Note that the project team did use the open
exhibits/gestureworks toolkit for another in-
gallery interactive
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To remain viable, museums must rethinknot only what typesof knowledge
they create, but how/with whom they create it, and finally how they communicateit.
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Choosing Stories: Which ones? Why?
Scholarship is the foundation of our work. Start there.
Everyone likes an underdog. Don’t do just the highlights.
Level with the visitor. Speak to universal experiences.
Good stories trade on the visitor’s empathy
• Who are your characters?
• What is the situation?
• What decisions did they make?
• What were the stakes?
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If you do nothing else, get rid of the passive voice.
The passive voice denies people of their agency – and sounds like we’re hedging.
The active voice shifts the focus to people doing stuff.
We hate this guy,
don’t you?
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Impact: Contributing to Our Field
http://www.museum-ed.org/a-guide-to-interpretive-writing-about-art-for-museum-educators/
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The Shift to Storytelling
How is brewing beer like growing babies? The Zulu
believe the same ancestral forces that ferment beer
also create children in the womb. Zulu families will
drink beer together and ask their ancestors to help
grow the brood. Round, shiny black pots like this
one are at the center of Zulu beer parties, refreshing
the living while linking them to past family ancestors.
Awarded: 2015 AAM Excellence in Exhibition Label Writing Competition
To engage audiences: change tone, voice, length, appeal, etc.
Example
ArtStories introduction for Beer Pot, Unknown Artist, Zulu Culture
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Griot is free and open source
Griot is available for download at GitHub
https://github.com/artsmia/griot
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Open Source Software
• “Free” download
• No company
• Community support
• Can be modified
• Susceptible to security issues
• Requires technical support
Commercial Software
• License fee
• Maintenance fee
• Company support
• Often can not be modified
• May require less tech support