"Trends Map" from Now and Next

Weekly news about museum trends, museum planning, the future of museums and interactive kinetic sculpture for the week ending January 9, 2012.

Museum Planner Related:

Posted “2010 Top Art Museums”, part of research into “bricks and mortar” vs. online museum experience, Link
Posted “Getting Started in Museums”,Link
Museum Planner in 2012 Link
Just posted about my experience as a juror for the “2011 Solar Decathlon”, Link
Uploaded photos of Toyota Mobile Experience” consulted on interactive exhibits, Link
Just updated Museum Flight Simulator at museum – exhibits.com Link
Who is your favorite interactive kinetic sculptor?: Link

Working on Science Center Attendance:
Visitor Attractions Visits 2010 – Association of Leading Visitor Attractions Link

Trends, this week MIT free online education, smart phone apps, future of gaming, new media and the joy of quiet: 
Amazing !, M.I.T.x, Free Online Education For All, This is going to change everything, Link
Tate Modern Puts 121 Years Of Art History In The Palm Of Your Hand, Link
Reviews: four apps that look at objects, Link
Interesting overview, “Future of Gaming” Link
Self-generating Movie for Covent Garden Piazza, Link
The Disappearing Barriers Between Business And Nonprofits Are Driving Innovation, Link
Interesting article about digital collections, Link
Metropolitan Museum of Art and Google Goggles collaboration,Link,  Google Goggles Link
The Joy of Quiet, “how to stay ahead of the curve”, Link

Museum Reports:
Amazing report, “The Travel & Tourism Compeitiveness Report 2011″, Link
“Economic Impact Methodologies For the museums, libraries and archives sector”, Link
Interesting study, “The Impact of Science & Discovery Centres” A review of worldwide studies, Link
Just found a report created by the Whiteoak Institute for the American Association of Museums Link

Exhibition Openings:
Wonderful article in the New York Times review of ““ElectriCity: Powering New York’s Rails.”, Link
Exhibition: “The Art of Video Games” to open at the Smithsonian American Art Museum, Link

Interactive Kinetic Art:
Nice work by Greg Pond, sound installation, Link
Wonderful list of Interactive Kinetic Sculptors, Link
Ars Electronica 2012, August 4th, Link

What is the future of museum interactivity?

Reaching consensus on the stages of development of museums is difficult, but for the purpose of this conversation, I will use:

Museum 1.0
First Generation Museum, “Cabinet of Curiosity”
Collection cases, static displays, dioramas, object centric
•    Mutter Museum

Museum 2.0
Second Generation Museum / Science Center
Collection cases with push buttons and cranks
•    Museum of Science, Boston

Museum 3.0
Third Generation Museum / Science Center
Open ended, multi-layered and visitor centric and encourages conversations
•    Exploratorium

Museum 4.0
Fourth Generation Museum / Science Center
The Museum / Science Center is without walls, the museum experience starts prior to the visit to the “bricks and mortar” location and continues after the visit to the museum.  Museums of the fourth generation can / will use the techniques of museums 1.0, 2.0 and 3.0, plus the museum experience is customized to the visitor (similar to Web 3.0).  The visitor experience “meets” the visitor at their level of engagement, interest and knowledge.  The museum experience is customized to the visitor prior to the museum visit.   I do not know of any museum that I would refer to as Museum 4.0

Nomenclature becomes difficult, because web 1.0, web 2.0 and web 3.0 are often used in combination with Museum 1.0, Museum 2.0, Museum 3.0, Museum 4.0.  For more information about the development of the web Web 3.0 Explained

Many of the phases of the development of museums is based on the work of Piaget and Constructivist Learning Theory.  Piaget “suggested that through processes of accommodation and assimilation, individuals construct new knowledge from their experiences. When individuals assimilate, they incorporate the new experience into an already existing framework without changing that framework”.  In other words; when we don’t know why the sky is blue, we each come up with our own theory of why the sky is blue until other knowledge challenges our theory.  To change our “knowledge” of why the sky is blue, first we need to deconstruct our current theory, then replace the previous knowledge with new knowledge.

The Exploratorium is the forefather of today’s Science Center.  Many of the practices of the Exploratorium have now migrated to Art Museums, History Museums, Aquariums and Children’s Museums.  Science Museums prior to the Exploratorium (I will make a distinction between Science Museum and a Science Center, as Science Center incorporates the Constructivist Learning Theory), showed visitors information, the Exploratorium, encouraged visitors to deconstruct their previous knowledge.  Earlier Science Museums assumed that all visitors learned in the same way, assuming that by exhibiting a geode and a label, all visitors could assimilate the causes that created a geode.  It was the Museum of Science (Boston), that took content beyond the previous museum model of “Cabinet of Curiosities” by adding push buttons to diorama graphic panels, the museum created the first interactive exhibits and made the “knowledge that of the visitor”.

It was the Exploratorium that took museums to the next phase of their development, by having vistors perform science experiments instead of having “science shown”, as such the Exploratorium incorporated the theories of Piaget.  As an adjunct to Art Museums; Children’s Museums, grew from Art museums and the “teaching collection” of the Brooklyn Institute of Arts and Sciences (now the Brooklyn Museum).  Since Children’s Museums grew from the teaching collection of an Art Museums, Children’s Museums have always had a hands on approach.  During the same time as the opening of the Exploratorium, Kinetic Art was developing and the Exploratorium incorporated artists into the development of exhibits.

Previously, I believed that “theming” was the start of the next phase in the development of museums, but I no longer believe that to be the case.  Theming or ”the use of an overarching theme…to create a holistic and integrated spatial organization of a…venue” provides a context for the content of an exhibition.  Although we require a context for knowledge, I don’t believe the incorporation of theming to be a milestone in the development of museums.  I now see “theming” as a continuation of dioramas, as “walkthrough dioramas”.

Web 3.0 or the “Semantic Web”, is thought to be the next phase of the development of the world wide web.  Similarly, I believe the next phase in the development of museums, Museum 4.0 will closely follow the Web 3.0 or  a web of content “that can be processed directly and indirectly”.  One of the most difficult concepts to communicate is that of interconnections, the goal of Museums 4.0 will be that of interconnections.  As a continuation of my concept of the Hub Museum, the “museum” will no longer be a location but a web of locations and interconnections, starting before the “museum” visit and continuing after the visit to a physical location.

In the next blog post “Future of Interactivity, Part II”, I will explore types of interactivity, philosophies of interactivity and the future technologies of interactivity.

References:

History of Museums “Cabinet of Curiosities”, http://en.wikipedia.org/wiki/Cabinet_of_Curiosities

World’s Oldest Museum? http://uk.io9.com/5805358/the-story-behind-the-worlds-oldest-museum-built-by-a-babylonian-princess-2500-years-ago?skyline=true&s=i

Jean Piaget, http://en.wikipedia.org/wiki/Jean_Piaget

Constructivism (learning theory),  http://en.wikipedia.org/wiki/Constructivism_(learning_theory)

First Interactive Museum, http://en.wikipedia.org/wiki/Science_museum

Museum of Science (Boston), http://www.mos.org/exhibits_shows/current_exhibits&d=1223

Exploratorium History,  http://en.wikipedia.org/wiki/Exploratorium

Learning Styles, http://en.wikipedia.org/wiki/Learning_styles

Museum of Science (Boston), http://en.wikipedia.org/wiki/Museum_of_Science_(Boston)

History of Children’s Museums, http://en.wikipedia.org/wiki/Children’s_museum

Theming, http://en.wikipedia.org/wiki/Theming

Kinetic Art, http://en.wikipedia.org/wiki/Kinetic_art

Web 3.0, http://en.wikipedia.org/wiki/Semantic_Web

Note:

There are limited online resources for the history of museums and science centers, I will continue to update the above resources, mw

Do you have a question about Museum Master Planning or Exhibition Design that has not been answered on museumplanner.org?  Enter the question in the comment section below.

http://www.imls.gov/about/21stCSkills.shtm

Institute of Museum and Library Services has published the  Museums, Libraries, and 21st Century Skills report.

“The report outlines a vision for the role of libraries and museums in the national dialogue around learning and 21st century skills and includes case studies of innovative audience engagement and 21st century skills practices from across the country.”

As a follow up to my Predictions for the future of Museums,  I have been thinking about the future of museums.  What if there was a place where parents, teachers, scientists,museum professionals, artists, students and experts could all share ideas both on the internet and in person. The “Hub Museum” is such a place!

Hub Museum is not one museum but a new model of a partnership of connected museums. Instead of a children’s museum, natural history museum, an Art Museum, a Science Center, the Hub Museum is all of them! Museum live through attendance and attendance is driven by new programs and exhibitions, the Hub Museum, changes every three months, into a new place and the exhibitions are rotated through all of the fellow hub museums.

Teachers, parents, scientists,museum professionals, artists, students and experts all gather online at “The Hub” portal. Teachers can share lesson plans and review science standards and curriculum, parents can view lesson plans and curriculum. Scientists can answer questions of students, “citizen scientists” can earn “expert” points by answering questions. Students can ask questions and learn from one another and experts. The online presence is fun and relaxed, although the content is in line with California Science Standards and National Curriculum. Same as the sharing of exhibitions the Hub portal is a shared online community amongst museums, parents, teachers, scientists, experts and most importantly students.

Museums become the hub for in person activities, instead of museums trying to individually create exhibitions, they are created through a network of museums all working to the same educational standards and curriculum. Instead of each museum working to separate standards and curriculum, the curriculum of the schools is shared by the museums and museums work in partnership with one another to design and build exhibitions.

Exhibitions are then shared amongst museums, so museums are always changing. Superintendents of schools, teachers and students are aware of the educational content before they visit the museum.

Still the museum is serving a different role than the school, the museum is an informal place for exploration and discovery of the formal education at school.

Mark teaching Art in Ho Chi Minh City

I am often asked “why would you go and spend seven months in Asia?”

As the middle class of China and India develop there will be a demand for cultural institutions.

On my trip I visited over 100 museums (still need to upload the videos), I was consistently impressed by the level of innovation.  Japan, Singapore, Hong Kong and Korea already have some of the best museums in the world, but the exciting part is going to be in developing India, Indonesia, Malaysia and China!  I want to be a part of it so needed to learn the landscape.Seven

“Across the online environment, there is growing engagement with user-generated content which impacts on designers as they move from sole author and producer to facilitators of the design process. User-driven and open innovation models of collaboration are impacting on the design and development of services and while there is a growing body of theory exploring the basis of this innovation, there are few models for the way in which designers will practice within this environment.

We are currently witnessing transformations in the ways in which clients engage designers and the ways in which designers participate in the development of products, services and experiences. These transformations in design practice are closely aligned to changing audience expectation and a growing demand for user participation in the design process. This is in keeping with a shift from the development of a service to an experience economy. (Gilmore & Pine 1999, Rivkin 2000)

The notion of experience enterprises has been coined in response to the experience economy. It encompasses those enterprises, both commercial and publicly funded, which have at their heart, the mandate to attract new audiences/ consumers/ producers through the development of integrated, multiplatform experiences. For example, both Nike, with its hugely successful Nike + social networking campaign which facilitates the development of communities of runners worldwide and Flickr Commons, the photo-sharing facility developed for cultural organisations to share archival imagery focus on adding value to existing services by creating and sharing in memorable experiences.

In the museum environment, it is sometimes suggested that audiences/creators and producers are willing to pay more for products and services if these are provided in an atmosphere that generates ‘memorable’ experiences. If this is the case and designers have yet to explore the impact of the user/creator on their practice, what will it mean for the development of future museum communication programs?

This posting is a starting point for problematising a broader shift in consumption and production, recognising the profound impacts that these shifts will have on future design practices and in turn, the ways in which they will affect museum programs.

Some of the questions it seeks to explore include:
How will social networking affect design as an enterprise?
What will this mean to organisations which engage designers?
Will services and experiences converge?
Who will drive new models of design innovation?
How will innovation drive new audiences/clients?”

http://nlablog.wordpress.com/2009/07/08/the-museum-of-the-21st-century/

“LSE Arts and Thames and Hudson 60th anniversay discussion