Attack of the Smartphones

The New York Times article I reviewed was entitled, The Best Tour Guide May Be in Your Purse by Keith Schneider. The article revolved primarily around museums and art galleries incorporating digital technology into their exhibits. The museums in this article utilized ipod touches, blackberrys, and other smart phones to provide vast amounts of information at patrons finger tips; the likes of which were not possible in the past.

The idea behind incorporating these devices is to develop an experience unlike anything that has ever been seen before. These devices provide access to downloadable content that museumgoers can either upload to their personal phones, or view through phones provided by the museum.

Pictures, information, sounds, videos, and even interactive application are being implemented into these devices. Patrons can now give themselves a tour of the museum with out even having to leave the comfort of their couch. But for those patrons who are present, the experience can be enhanced quite dramatically.

The appearance of technology in museums is not a new trend. Since the 1960’s, audio recorders and audio tours have been utilized in museums to provide a level of interaction above the norm. In 2002 the first cell phone audio tours had already been given, and by 2008 ipod touches had been used to provide multimedia tours.

The San Francisco Museum of Modern Art celebrated its 75th anniversary by handing out such devices that were pre-loaded with videos, pictures, interviews, and other various forms of information encompassing some 200 pieces of art from the museums permanent collection.

The Minneapolis Institute of Arts has taken the interaction with smart phones one step further. They have developed a downloadable application that allows patrons to play virtual instruments in the palm of their hands. They have employed this application in their iAfrica exhibit, which lets the sounds of the lamellaphone come to life.

The Brooklyn Museum of Art is also paving new ground by incorporating new mobile devices. The museum staff has photographed many of the museums collection and have not only posted these online for a digital tour, but also made them available to cell phone carries. They have created a free application that is available through the iPhone store that can be downloaded to any iPhone device.

Aside from free access to media, there is also an opportunity for museums to make a little bit of extra money to offset the cost of these new programs. The Indianapolis Museum of Art is just one example of how this can be done. They charge a nominal fee of $5 to rent a mobile Smartphone-like device, jammed packed with more information than one can shake a stick.

The integration of technology into museums and art galleries is on the rise, and this article helps to inform enthusiasts of where some of these most recent innovations are taking place. By spreading the word about these new highly interactive exhibits, museum directors hope to attract new generations of patrons by providing them with a mode to experience the past, in a way that they can relate to.

http://www.nytimes.com/2010/03/18/arts/artsspecial/18SMART.html?ref=artsspecial

The effects architecture

The moment I laid eyes on the holocaust museum I was taken back to a time long since passed. To an age of stone and steel. Immediately upon arriving at the museum, I was overwhelmed by the shear size and simplicity of the building. It seemed to be made primarily of concrete, steel, and brick; as if windows were an after thought. Although the concrete entry way looked inviting from the outside, once inside, I felt more or less trapped.

This was because the museum’s architecture was not designed like many of the other museums I had been to. The floor plan was not open and inviting. It did not make you feel at ease. Oh no, everything about the museum seemed suffocating. Darkly colored walls, dimly lit exhibits, tight turning corners with no escape, and not to mention the stuffy, cramped elevator ride into the pits of a re-created hell.

Around every bend, there seemed to be some overwhelming aspect of the architecture which conveyed dark and ominous feelings. Some of the exhibits protruded onto the path of travel, as if to force you to, quite literally, stumble upon them. Towering walls of photos, trunks, and shoes seemed to condense around you at every corner. Walkways consisting of pure iron conveyed the seriousness of the atrocities the museum had on display. All of these aspects and more provided a sense of uneasiness, which is exactly what the curators wanted you to feel.

Although you may be expecting fun and excitement while visiting a museum, the feelings associated with the holocaust museum are of a different sort. It is a very somber experience for most. Some people mourn, some are left shocked, and some simply cannot handle the museum in its entirety. But one thing is for sure, there is a significant effect on the psyche of the patrons who visit this museum, some of which is caused by the architecture. It is just something about a hard rigid structures that can either provide feelings of safety by keeping the bad things out, or a sense of entrapment by keeping things in.

Example of an effective museum

One particular museum that sticks in my mind as being particularly effective according to Weil’s criteria, is the Wenatchee Valley Museum and Cultural Center, located in Wenatchee, Washington. Weil says that in order for a museum to be effective, it must be “demonstrably able to accomplish the purposes they seek to accomplish”.

Now, although this museum does not have a mission statement explicitly written, the action words the museum uses to draw you in are quite apparent; explore, discover, enjoy, create, and experience. All of these action words are pertaining to education the public on the history of north central Washington; from the ice age to the present. This is the museums purpose, but in order for it to be “effective” the museum must be able to accomplish this.

The Wenatchee Valley Museum educates the public in a variety of ways. There are guided and self-guided tours which are open to those both young and old. There are hands on exhibits designed to teach patrons first hand about different eras; specifically the Clovis culture of the ice age, late 1800’s and 1900’s town life and industry, as well as the first trans-pacific flight which just so happened to land in Wenatchee, and much much more.

While providing exhibits and tours is certainly a good way to accomplish the museums goal of education patrons, it would only constitute performing the minimum. Now in order to go above and beyond, the museums provides materials for those people who wish to enjoy the museum but simply cannot make it in. There are “museum-to-you” boxes, which quite literally is an exhibit packed up and delivered to your door. Those employed by the museum will also make house calls to share stories and slideshows of many historic events, along with skits and role-playing done in full costume.

Because the Wenatchee Valley Museum and Cultural Center seems to go above and beyond achieving their purpose/goal of educating the public about the historical events that took place in and around the Wenatchee valley, I believe that the museum is indeed “effective” by Weis’ criteria.