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Sessions: Emerging Tech [clear filter]
Thursday, November 5


Enhanced Visualization of Cultural Heritage through Computational Imaging and 3D Modeling
Once again, in the practice of cultural heritage imaging, we find ourselves on the cusp of 
enormous change. Today very much feels like it did 15-20 years ago when we put away 
our film and began embracing the new digital medium. 

If you look around the studio now, you see more and more sophisticated equipment_ for 
capture, for lighting, for processing_ all requiring a greater degree of training and skill to 
operate. With the adoption of computational and 3D imaging techniques, we have the 
opportunity to share far more detailed information about our collections for research, 
education and public enjoyment. This of course calls for sophisticated viewing tools to 
deliver rich, dynamic experiences to our audiences in the gallery or online. 

To achieve success in such complex endeavors requires ongoing support and 
development from a team of technicians, engineers, scientists and researchers (not to 
mention significant financial resources).  More and more we will need to look beyond our 
own walls to find partners who can bring specialized knowledge to projects that advance 
common goals.

Over the past two years, Minneapolis Institute of Art (Mia) has been fortunate for the 
opportunity to partner with Professors Gary Meyers and Seth Berrier, of the Universities 
of Minnesota and Wisconsin respectively.  

Working with content generated at the museum, they have developed computer graphic 
software that adds value to current photogrammetry methods by improving color 
appearance and surface information of 3D models. Using surface light field renderings 
and environment mapped based lighting techniques, they have improved ways to simulate 
a variety of specular enhancement used to compare and analyze cultural objects. 

The panel will discuss their ongoing collaboration, show recent examples and take 
questions from the audience.

avatar for Dan Dennehy

Dan Dennehy

Head of Visual Resources, Mia
making, sharing, and saving media content for cultural heritage

avatar for Seth Berrier

Seth Berrier

Assistant Professor, University of Wisconsin Stout
Seth Berrier is an assistant professor of computer science in the department of Mathematics, Statistics and Computer Science at the University of Wisconsin Stout. He earned his Ph.D. from the University of Minnesota where he worked with designers from many fields to leverage modern... Read More →
avatar for Gary Meyer

Gary Meyer

Associate Professor, University of Minnesota
Gary Meyer is an Associate Professor in the Department of Computer Science and Engineering at the University of Minnesota. He has also been a member of the Computer Science faculty at the University of Oregon and a Member of Technical Staff at Bell Telephone Laboratories. Meyer received... Read More →

Thursday November 5, 2015 2:30pm - 3:30pm
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


Museums beyond Meatspace: User Generated Museums in Virtual Worlds (and What We Can Learn from Them)
Remember the hype about Second Life? The hype may be over, but virtual worlds are not.

Hundreds of millions of people worldwide engage daily in creation, exploration and interaction within thousands of massive multi-user virtual worlds, user-generated worlds in which the presence of museums is pervasive. The overwhelming majority of these museums are created not by professional museum entities but by users not otherwise affiliated with museums.

Offering an astounding array of topics ranging from mermaids to Willy Wonka’s chocolate factory to the Marquis de Sade to a variety of less easily classifiable spaces, these user-generated museums may often feature the familiar marble columns of a traditional museum, but their function has been radically redefined to serve their unique cultural needs. In a world in which reproducibility is infinite, physical authenticity is meaningless, socialization is anonymous, physicality is representational and content is peer-generated, what role do museums play and how does it apply to their physical counterparts?

avatar for Scott Sayre

Scott Sayre

Chief Digital Officer, Corning Museum of Glass
Chief Digital Officer at the Corning Museum of Glass, I am responsible for developing new strategies for and overseeing the Museum’s digital program onsite and online, including the Museum’s website and in-gallery digital applications. I am also an MCN Board Member and liasion... Read More →


Thursday November 5, 2015 3:45pm - 4:15pm
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


Visitor Experience with Augmented Reality in a Museum Exhibit Setting
Augmented Reality is a recent subject of curiosity and experimentation from the museum community and considered a tool for museum innovation. It is the promise of an advanced natural interaction between visitors, collection objects and their data, putting action and unique personal experiences at the core.

We base our discussion on a research project taking place at the Smithsonian’s National Museum of Natural History, using the mobile app Skin & Bones as a case study. The app was released in January and promotes visitors interaction with the skeletons on display at the Bone Hall. This is the institution’s oldest exhibit, a Victorian-age relic that contains close to 300 skeletons, with most specimens collected during the 19th century; the current display dates from 1964.By downloading the app to their mobile devices, visitors can enjoy 10 3D AR experiences, 32 short videos and 4 activities. This content is structured according to the IPOP theoretical framework and explores scientific concepts underpinning the exhibit, introduces scientists and their personal experiences, presents the roles the animals play in the environment, showcases their unique anatomical features, and promotes haptic interactions with the device.

The purpose of creating Skin & Bones was to change the visitor experience from passive to active, to increase the enjoyment and memorableness while connecting to the objects behind glass, and to do this without touching the physical exhibit.Skin & Bones was recently the recipient of a Gold MUSE Award in the category Games and Augmented Reality and has received the attention and praise of the media, museum professionals and users overall.

The research project to be presented at MCN 2015 collects data from visitors using the app in the Bone Hall, through interviews, surveys, observation and tracking, and app content selection analysis; it also examines data provided by integrated analytics. It is an in depth study that intends to establish valuable guidelines regarding the use of this promising technology in museums, and to compare visitors preferences and behaviors with the predictive framework that was used to structure the content.

During the presentation we will briefly cover the design, content production and software development process for the app; and share for the first time in a conference setting the interpretation of the research results and conclusions gathered.

avatar for Scott Sayre

Scott Sayre

Chief Digital Officer, Corning Museum of Glass
Chief Digital Officer at the Corning Museum of Glass, I am responsible for developing new strategies for and overseeing the Museum’s digital program onsite and online, including the Museum’s website and in-gallery digital applications. I am also an MCN Board Member and liasion... Read More →

avatar for Diana Marques

Diana Marques

Doctoral Fellow, Smithsonian's Natural History Museum
Hi! I have a background in Biology and specialize in Visual Scientific Communication, working with technology, illustration and animation in a variety of scientific subjects and techniques, for museums, publishers and researchers. I'm a Smithsonian fellow pursuing a doctorate degree... Read More →

Thursday November 5, 2015 4:15pm - 4:45pm
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403
Friday, November 6


Grasping Cultural Heritage: Engaging Museum Visitors with History and Culture through Tangible Interaction Technologies
We identify a broad opportunity to develop an understanding of how digital technologies that provide tangible interactions can be effectively used in museum environments that engage cultural heritage. Tangible interaction couples computational media with physical objects embedded in a physical environment.

Our goal as researchers is to better understand how tangible interaction technologies can be designed and situated within the museum context in order to improve visitors’ understanding of historical and cultural concepts. We introduce here a tangible tabletop installation piece for an exhibition titled Mapping Place: Africa Beyond Paper, which contrasted Western and African notions of mapping history and place. Under the guidance of professor Ali Mazalek, students from Georgia Tech and Ryerson University collaborated to create the installation between 2013 and 2014. The Mapping Place exhibition took place from February 28 to June 6, 2014 at the Robert C. Williams Paper Museum in Atlanta, GA, and was part of the Africa-Atlanta 2014 initiative.

The design of Mapping Place was inspired by the Lukasa, a hand-sized wooden tablet studded with beads and shells and carved with ideograms. The beads, shells and carvings are used to represent pieces of stories and thus serve to record the history, genealogy and cosmology of the Luba peoples in Central Africa. With the authentic Lukasa inside a glass case in the Mapping Place: Africa Beyond Paper exhibition, our piece aimed to give students a tangible way to explore symbolic and non-linguistic mapping concepts that are central to the Lukasa. The installation consists of a multi-touch tabletop with multiple tangible shells and two wall mounted projections. By placing a tangible shell on the tabletop display, seven icons appear as a circular “menu” around it, representing possible components of a story about family and place. The visitors can assign meaning to the digital beads by dragging them onto the menu icons, and a corresponding animation begins to play on a wall adjacent to the table. The entire tabletop becomes the group’s digital Lukasa, holding multiple visitors’ stories. Through the shared practice of storytelling, our design enabled visitors to create a personal connection to the historical and cultural practices of the Lukasa.The Lukasa-inspired interactive installation demonstrates one way in which emerging digital interaction technologies can be used to support historical and cultural concepts in ways that are tangible, embodied, and performative.

Our observations and our user study of the museum visitors show that grounding the tangible experience in contextualized knowledge can enhance visitors' comprehension of abstract concepts and subject matter. As illustrated in this project, we believe that bodily interaction is a viable way to remediate cultural heritage and support learning goals. The openness of the interactive experience invites visitors to reflect on their experience, actively participate in the meaning-making process, and share their understanding with others. We share our design process, user study, and design implications for how digital and tangible interaction technologies can be used for cultural learning in museum exhibits.


Jean Chu

Ph.D. Student in Digital Media, Georgia Institute of Technology

Friday November 6, 2015 9:00am - 9:15am
Calhoun Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


The Bruegel Box: An Immersive Art Project by the Royal Museums of Fine Arts of Belgium
Will new technologies offer a viable alternative to temporary exhibitions? That's the question that we'll try to answer through the Bruegel box, an immersive art project by the Royal Museums of Fine Arts of Belgium.

Thanks to the support of GDF-Suez, an installation of high-performance projectors will be placed permanently in one of the rooms of the museum and short HD animations will be displayed on the walls to introduce some of the key works and emblematic masterpieces of our collections. The one that will inaugurate the series is The Fall of the Rebels Angels (1562) by Pieter Bruegel the Elder - that has been the subject of recent scientific researches.

If The Fall of the Rebels Angels is already available in high definition on Google Art Project, it will again be highlighted through this immersive space. This device will allow the viewer to truly enter into the painting and the world of Bruegel. Its phantasmagorical work will come to life under the eyes of the visitor. With this advanced multimedia device, the visitors will be powered at the heart. He will dissect each element of its composition. Repelled by Saint Michel, he will follow the rebels’ angels into their fall, beyond the limits of the frame.

If for this first painting, the animation is rather narrative, we already can imagine the possibilities that this display can provide us for others kinds of works. We could explore in successive layers the color theory of the French Pointillist, Georges Seurat, or decompose / accelerate the movement of the Italian Futurists and even dematerialize the form by the light in the Impressionists landscapes. Each proposition would be adapted to every highlighted masterpiece. But every one of them would be shown in very high definition images projected on three walls, from the ground to the ceiling.In parallel, a mobile application will be available to guide the visitor through the museum to the original work of art. Links with other works of our collections by the same artist or a similar theme, will complete this visit. Explanations will also be provided to explain why in terms of conservation the physical artwork could not be moved close to the "box".

This project is the concretization of a deep reflection on the changes taking place in the field of museology. In this digital age, the Bruegel box (or any other painter's box) will enable us to explore new possibilities and will become the setting for a new museum space. The technology will serve the art, facilitating its access when physical transportation becomes increasingly binding. It also allows us to expand the museum experience and the meeting with the art pieces, by exporting the project abroad when the work itself can't be loaned overseas anymore.After an introduction of the project, from the original ideas that initiated it to its actual production, we will share our experience with the delegates. We will review both the technical and human difficulties that were faced throughout its production.

Our overall aim is to raise questions on the future of museums in the digital age, opening up a debate. Is it this the future of the temporary exhibition? Will technology offer an alternative to broadcast our collections and enable museums to stay economically sustainable? Will future generations still be more likely to visit museums if we only can display digital or 3D printed duplicated masterpieces in order to protect our cultural patrimony? How to find the good balance between entertainment and scientific researches? And what about the "aura" of the pieces of art (W. Benjamin)? By being the 21st century museums, we need to redefine our fundamental missions.

avatar for Jennifer Beauloye

Jennifer Beauloye

Post-doctoral researcher & Project Manager, Royal Museums of Fine Arts Belgium
Museum professional & Curator at the Royal Museums of Fine Arts of Belgium.Doctor in Philosophy, Design and Applied Arts (PhD).Post-doctoral researcher in Museology and Technologies. #BruegelBox @jennbxl

Friday November 6, 2015 9:15am - 9:30am
Calhoun Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


When Being There Isn’t Possible: Using Immersive Technologies to Increase Cultural Literacy and Extend Museum Outreach Efforts
Woofbert democratizes access to museums, freeing visitors from limitations of geography, socioeconomics, age, and physical condition. Wb collaborates with art institutions and other cultural heritage sites around the world to expand their reach via leading-edge digital technology. With Woofbert, anyone can visit museums, architecture, and cultural sites from the classroom, workplace, or home. Join us as we demonstrate how Woofbert’s technology, content, and curriculum are being used in the classroom. We will review how teachers are incorporating our virtual reality experiences at school as a tool to encourage inquiry and open creative pathways.

In today’s diverse world, Woofbert enriches the experience of arts education in a way that is inclusive, interactive, and ultimately transformative. It allows users to “go” anywhere their curiosity and creativity takes them. Woofbert (Wb) is an arts education media and technology company that allows subscribers to virtually tour museums and major cultural sites from anywhere in the world, from any computer or mobile device. Woofbert uses advanced laser scanning technology to make precise, high-resolution 3D models of a site’s interior spaces and exhibitions. When the user puts on the sophisticated head-mounted display, the Woofbert experience begins; the individual is now immersed in the three-dimensional space: a museum gallery, church nave, or other cultural destination that he or she can “walk through.” Importantly, Woofbert can “freeze time” by scanning temporary exhibitions as well as endangered cultural sites, making these experiences forever accessible. The technology likewise allows for efficient responses to ongoing curatorial changes.

avatar for Larissa Bailiff

Larissa Bailiff

Senior Editor, Education & Content, Woofbert

Friday November 6, 2015 9:30am - 9:45am
Calhoun Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


The Art of Listening: Creating Authentic Stories in Sound
Audio is having a moment. People are tuning in to on-demand radio in their millions. New podcasts are popping up every week. NPR’s “Serial” became a global phenomenon - the first podcast to be awarded a Peabody, as well as becoming Apple’s most popular podcast ever. Audio – more than words on the page - can make you feel something for someone, or something, totally unfamiliar. Barriers go down when people just listen. And it helps you – look, feel, remember.

This talk-show style panel will show how audio is having a new lease of life in the mix of in-gallery media, websites, apps and other mobile tech in museums. Audio is more than a tired old ‘interpretation’ friend and can be used in innovative ways to communicate and learn. As a medium, it offers a singularly direct connection with the listener, creating a sense of presence and intimacy that can be hard to achieve in a museum environment or with screens alone. Yet audio storytelling in a museum context often struggles to go beyond ‘talking catalogues’, with it’s didactic messaging. This panel will offer worked examples of how audio can be a more effective tool when authentically expressed, and as an extension of the drive towards authentic communication, emotional engagement (E. Munro, 2014) and visitor participation in museums, breaking down barriers between institutions and audiences. Just as social media and our online lives have pushed the boundaries in museums beyond formal interactions with the public (MW2015,Provocations in art: engendering art debate on social media), so too can audio help museums to connect with visitors.

We’ll examine the impact of audio as a supplemental layer to the visual or as the leading primary experience, and how new directions in audio storytelling employ plot-driven narrative approaches, as well as challenge the visitor with responsive, immersive and theatrical experiences, including using viscerally charged binaural techniques to tell the story. As a 2012 study by Emma Rodero has shown, dramatized audio in particular can stimulate the imagination, create vivid mental pictures and generate more emotional arousal and interest, and the use of sound effects and sound shots increases the level of listener’s mental imagery, and also helps them to pay more attention.

The session will be a talk-show style panel with brief introductions to worked examples including installation based and responsive mobile and location-aware technologies, followed by a series of questions to prompt discussion among the panelists. Slides will be limited and audience questions actively encouraged. The goal of the session will be to share innovations in audio design and storytelling both in museum contexts and outside, to build an understanding of authentic communication styles and to provide tangible examples of how these can be applied in a variety of in-gallery and mobile applications.

Panelists from The Smithsonian Museum of American Indian, The Baltimore Museum of Art, the National Music Centre, Second Story Studio and Antenna International will show how their organizations use audio as part of the experience design process and to explore new rules of engagement with the visitor.

avatar for Sofie Andersen

Sofie Andersen

Senior Content Designer, Antenna International
I'm a cultural anthropologist and story seeker. I love making connections, with people, ideas, and magical thinking.
avatar for Suse Cairns

Suse Cairns

Director of Audience Experience, Baltimore Museum of Art
An Australian in Baltimore. Podcaster at museopunks.org, former blogger at museumgeek.wordpress.com.

Daniel Davis

Manager, Media Group, Smithsonian National Museum of the American Indian
Let's talk about Universal Design, mobile, multi-touch table experiences and the emotional power of audio experiences..
avatar for Natalie Marsh

Natalie Marsh

Education Outreach Coordinator, National Music Centre
Natalie Marsh (BFA, B Ed.) is the Education Outreach Coordinator with the National Music Centre in Calgary, AB. In addition to being a visual artist, she has 15 years experience in teaching and educational program development for classrooms, museums, and municipal government. She... Read More →
avatar for Christine Murray

Christine Murray

Senior Content Designer, Antenna International
I'm a digital storyteller, experience-maker, and cultural infomaniac. I've been writing and producing documentary films, audio tours, multimedia guides, apps, and location-based experiences for the past 25 years. My relationship with Antenna goes back to its fledgling days as... Read More →

Friday November 6, 2015 11:30am - 12:30pm
Minnetonka Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


State of the Art: Creative Technology and the Museum
Museum technology demands creativity.

Design, user-experience and user interface require an artful creativity, but it doesn’t end there. There’s a Sherlock sort of analytical creativity required to write and troubleshoot code and a MacGyver-like creativity in finding off-the-shelf solutions to solve unique problems. There’s creativity in recombining existing parts and in connecting existing projects to new ideas. A scientific creativity is needed to experiment and fail. And there’s an all-important storytelling creativity required to sell an idea, or a solution, or a process, and convince stakeholders of its value.

Sustaining a creative process in the museum setting can feel like swimming upstream. Many museums celebrate artistic innovation and creativity; few encourage it internally. Most sustain a powerful inertia and are wary of change. Museum technologists are often left on their own to develop creative approaches, or nurture their creative side on their own time.

This panel will explore the space between artist and technologist from three perspectives: the museum, the museum technologist, and the audience. It will be presented in a creative format including short panel presentations, a project demonstration and a unique audience Q&A session.

The Museum:
How do museums approach creative digital work? When a curator wants a unique way to express an exhibition theme, who gets the call? When is an artist commissioned or an outside firm brought in? When does the in-house digital expert get the nod? We’ve found that the capacity (or tolerance) for creative (even artistic) digital experiences depends on the kind of museum. For example, a science museum may welcome the creative technologist while the art museum may find comfort in an artist commission. More broadly, how can museums encourage creativity in their digital teams? (Or, how can the roadblocks to creativity be removed?) What would happen if the processes that are required to keep a digital team creative and innovative are actually taken to other areas of the museum?
Demo: Self/Reflection This interactive installation started as a prototype, developed into an educational interactive, and ended as a work of art in a photography museum. This project hits many aspects of musetech creativity.

The Museum Technologist:
How can creativity be developed in museum technology projects? During this section we will discuss broadening your toolsets--including frameworks built for creativity, experimentation, and tight, iterative feedback loops. We will address the importance of building features into your code to allow for quick experimentation during runtime. We’ll explore ways to gain outside experience and diversify your social networks (vibrant parallel communities thrive around interactive installation art, creative coding, information architecture, and more). Our field is enriched by cross-pollination; we need to bring personal passions to work (and not leave them at the door.)
Demo: Museum my HeartAn example of museum technology drawing upon personal passion and outside interests.

The Audience:
How can museums encourage audiences to be creative? Many museum mission statements include words like “inspire,” “educate,” and “community.” Environments such as makerspaces, startup labs, incubators, and hosted events are all marquee approaches to encouraging creative communities. Through thoughtful infrastructure choices and progressive policies, museums can encourage people to be creative with collections, and celebrate the result. Even without expensive new programs or infrastructure, museums can make simple decisions that turn existing spaces into creative spaces: an open photo and video policy, along with a visitor’s smartphone, and perhaps a prompt on a bit of wall text, can transform a gallery into a creative space for photography, video, and 3D capture. Museum technology, and museum technologists, should strive to invite audiences to embark on the same sort of creative process that inspires us.


Jason Alderman

Experience Designer / Owner, Cloud Chamber
avatar for Brinker Ferguson, PhD

Brinker Ferguson, PhD

Dartmouth College
My interest in museums, digital media, and education stems from a need to understand how digital repositories and interactive media can connect disparate groups and foster connection and creativity on a whole. My passion is working with museum conservators to tell their (remarkable... Read More →
avatar for Chad Weinard

Chad Weinard

Mellon Manager of Digital Initiatives, Williams College Museum of Art
Chad is Mellon Manager of Digital Initiatives at the Williams College Museum of Art, where he leads WCMA Digital. He was director of digital media at the Balboa Park Online Collaborative, where he led a team developing mobile, web, video and in-gallery experiences for museums. Previously... Read More →

Friday November 6, 2015 2:00pm - 3:00pm
Calhoun Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403
Saturday, November 7


Exploring Cusco
The ancient city of Cusco was the heart of the Inkan civilization which ruled over much of the South American Andes in the 15th and 16th centuries. The Smithsonian National Museum of the American Indian (NMAI) and Ideum are collaborating on the development of a multiuser interactive exhibit which contains a 3D reconstruction of this capital city as it was before the Spanish conquest. This exhibit is at the heart of the exhibition, The Great Inka Road: Engineering an Empire. By presenting this interactive exhibit on an Ideum 84" multitouch table, we expect to create a social experience that allows groups of visitors to explore videos, image galleries, interactive panoramas and an innovative 3D model tour element side by side. The exhibit will open at the museum in Washington DC on June 26, 2015.

In this presentation, we will share the unique development process that involved researchers and consultants in Spain, Peru, and the United States as well as the potential of building the interactive experience using the Unity3D gaming platform. We will also present a preliminary evaluation of how successfully this large interactive table provides a deeper, social experience by allowing users to learn from one another and better understand the exhibit’s main messages.


Daniel Davis

Manager, Media Group, Smithsonian National Museum of the American Indian
Let's talk about Universal Design, mobile, multi-touch table experiences and the emotional power of audio experiences..
avatar for Jim Spadaccini

Jim Spadaccini

Creative Director, Ideum
I am the Creative Director at Ideum. We develop interactive software and design and build custom hardware

Saturday November 7, 2015 9:15am - 9:30am
Great Lakes A2 Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


What Can Photogrammetry Do for Your Museum? Practical Information and Case Studies
Photogrammetry refers to the practice of deriving 3D measurements from photographs.

Recent technological advances in digital cameras, computer processors, and computational techniques, such as sub-pixel image matching, make photogrammetry a portable and powerful technique. It yields extremely dense and accurate 3D surface data. It can be generated using a sequence of photos and captured with standard digital photography equipment, in a relatively short period of time.

The purpose of this session is to present practical information about the use of photogrammetry for 3D capture of museum objects. There is increasing interest in collecting 3D data about museum material to meet a variety of objectives including monitoring changes to objects over time, comparing similar objects, documentation of installations, measurement of features in an object or series of objects, 3D printing of replicas for exhibition or sale, public engagement, and many more uses.

This full panel proposal includes four presenters (see below). Three are working with museum collections and are experienced applying photogrammetry in their institutions. They will each present short case studies (8-9 minute) about current projects. The fourth presenter is an imaging specialist with experience across a broad range of photographic based capture techniques for scientific documentation of cultural material. She will present for ~20 minutes on the current state of practice, along with information about equipment needed, software options, some basic tips for getting started, and will also touch on metadata and archiving. ~15 minutes will be reserved for discussion.

The panelists:
Carla Schroer, Founder & Director, Cultural Heritage Imaging
Rich House, Senior Photographer, Yale Art Gallery
Dale Kronkright, Head Conservator, Georgia O'Keeffe Museum
E. Keats Webb, Imaging Specialist, Museum Conservation Institute, Smithsonian Institution

avatar for Richard House

Richard House

Senior Photographer, Yale University Art Gallery
avatar for Carla Schroer

Carla Schroer

Cultural Heritage Imaging
Carla Schroer leads the training programs at CHI and works on field capture projects with Reflectance Transformation Imaging, photogrammetry, and related computational photography techniques. She also directs the software development and testing activities at CHI, she is a CHI founder... Read More →
avatar for Charles Walbridge

Charles Walbridge

Photographer, Minneapolis Institute of Art
Charles Walbridge is Lead Collections Photographer at the Minneapolis Institute of Art (Mia). He has worked at Mia for the past 15 years and the work he does includes still photography, 3D scanning, conservation photography, image data standards, and museum sustainability.

Saturday November 7, 2015 10:15am - 11:15am
Nokomis Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


Digital Ambition: iBeacons, Universal Design, and the Visitor Experience at the Canadian Museum for Human Rights
The Canadian Museum for Human Rights (CMHR), located in Winnipeg, Manitoba, opened to the public in September 2014. This is Canada’s first national museum created since 1967 and the first national museum located outside of the National Capital Region, Ottawa.

The over 47,000 square feet of digitally rich, mixed-media Installations explore the subject of human rights, to promote respect for others and to encourage reflection and dialogue. Dialogue is a key word at the CMHR, as this word is a metaphor for the Museum’s approach to experience design – a reciprocal relationship where the Museum informs the visitor but the visitor also informs the Museum.

The entirety of the Museum and exhibits were built with inclusive design and accessibility in mind. The CMHR’s opening day was only the beginning, and we continue to look for ways to improve the experience of visitors.Scott will present innovative concepts developed for in-gallery, mobile, and remote endpoint solutions for the CMHR; including the integration of iBeacons to deliver accessible content to over 120 universal access points inside the museum.

avatar for Scott Gillam

Scott Gillam

Manager, Digital Platforms, Canadian Museum for Human Rights

Saturday November 7, 2015 2:00pm - 2:30pm
Calhoun Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


Indoor Positioning Is not about the Blue Dot, It’s about the Visitor
There is a lot of highly contentious discussion swirling around the cultural space regarding the indoor positioning problem. The obvious promise of pinpointing our visitors' exact location is so self-evident that very few organizations pause to consider what they will do once they can get sub-meter accuracy. At the American Museum of Natural History we were forced by historical precedent to seek to leverage indoor positioning in support of wayfinding. But that is just the beginning. As we've assembled a system from the best, currently avaialble technologies (BLE) we've also gone back to the drawing board (and the analytics and the visitor surveys) to address the indoor positioing froma visitor-first perspective.

As I literally walked the half-million square feet of public museum space placing more than 700 BLE "beacons" onto the walls of 25 buildings of varied construction materials and methods I was not just thinking about "coverage" or "RF interference", I was thinking about interpretive media and what we would say to a visitor that we'd identified as "being in this place." The answer, more often than not, didn't dictate sub-meter resolution from the indoor positioning system but could be handled by simply knowing what quadrant of a gallery the visitor was in. By using overlapping, cascading interfaces (both automated and manual) an experience can be crafted that can provide delightful interaction with Museum content.What does it mean to define the contextual visitor experience first? Wayfinding to Hall/gallery introductions to object-specific interpretation, how close do you need to get.What does overlapping / cascading interfaces mean? Can the user correct an erroneous position? How specific does the app need to be in assuming that it knows what object the visitor is "near" or "interested in."

The answers to these questions need to be in place before selecting an indoor positioning system in order to prevent cultural institutions from wasting money on unused gimmick.

avatar for Matt Tarr

Matt Tarr

Director, Digital Architect, American Museum of Natural History
Director, Digital Architect @amnh, dad, aging skater... i make things that don't last... bits

Saturday November 7, 2015 2:30pm - 3:00pm
Calhoun Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403