My notes from our chat with Museum of the Moving Image today

[Erin Yu]

Hi Everyone,

Here are some additional notes.
I found the distinction between the temporal, spacial, and social  
experience interesting.

Erin

----------------

Temporal
Framing content based on the known temporal information: Experience  
should differ when viewing the artifact before the visit, in the  
presence of the artifact, after the visit.

Spacial
Knowing where the visitor is in the exhibit space and giving  
information about related artifact around them

Social
Allowing people to leave droppits of information that other people can  
view - allowing people to interact in the same space over time.
Information provided in non-academic terms might actually be more  
valuable.
We also talked about the concept of active and passive sensing
Having the system tell you what you are seeing (passive) vs. visitor  
searching for information and interacting (active)
"Each other" question: intimacy and interaction that happen between  
people
Interaction with people they don't know is different than interaction  
with people through time

Key is to capture moment of interest which often dissipates the moment  
[the visitors] leave.



On 22-Apr-09, at 1:15 PM, Colin Clark wrote:

> Hey everyone,
>
> Here are my notes from our conversation today with Jason Eppink and  
> Carl Goodman for the Museum of the Moving Image. Interesting stuff.
>
> Colin
>
> ---
>
> Some projects that the Museum of the Moving Image has in mind for  
> Fluid Engage:
>
>    1. Interactive animation stands: let people take their animations  
> home with them, directly on their phone
>    2. Remote controls for in-gallery video screens: use the phone to  
> controls clips on the screen
>    3. CollectionSpace integration:
> 	- scan a bar code, or wirelessly look up more information, get  
> access to the collection
> 	- visitor can take that information home with them (ie. physical  
> bookmarking)
>    4. A location aware treasure hunt activity
>    5. Location-aware triggered sound: not an fixed audio tour, but  
> sounds cued based on context
> 	- say, David Lynch talking about the importance of sound while in  
> an exhibit that covers sound in movies
>
>
> • Not just physical bookmarking of objects already in the collection:
> 	- allow visitors to take home the results of their interactive  
> activities
>
> • eDoscent: a pilot mobile project run by MMI in 2000
> 	- problem they encountered was that people didn't necessarily want  
> to follow up
> 	- the "here and now" is the key
> 	- need to incentivize the pre/post visit
>
> • MMI has little interest in way finding; they have a small space,  
> emphasize the value of getting lost
> 	- instead, want to approach this in an exhibit-driven way
> 	- preserve the primacy of the visitor to determine their own in- 
> gallery experience
> 	- leave notes to person i know, tied to a physical location and  
> artifact
>
> • layered curatorial approach
> 	- a library: here's a collection of stuff
> 	- "our perspective:" advocated by the curatorial staff
> 	- invited experts: material assembled by filmmakers, for example
> 	- visitor's perspectives
> 	* goal: "to elevate the mundane, not denigrate the important"
>
> • Carl suggested we take a look at other past mobile-related  
> projects, such as the HandScape project
>
>
>
>
> ---
> Colin Clark
> Technical Lead, Fluid Project
> Adaptive Technology Resource Centre, University of Toronto
> http://fluidproject.org
>
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