IWM’s Social Interpretation project: engaging with audiences and taking it forward
Last time we visited IWM’s Social Interpretations project, Jane Audas updated us on how the project was coming along. Check out the video below to see what the project actually implemented, and how they’re using the findings for future projects at the museum…
Carolyn Royston, head of digital media at the Imperial War Museum, explains in the video that the museum wanted to make their objects and artifacts social in the sense that audiences are able to “comment, collect and share.”
In much the same way Facebook or Twitter allows users to comment, respond and interact with each other’s posts and updates, the IWM Social Interpretations project allowed visitors to use kiosks to post comments on certain exhibition objects and read other people’s comments on those same objects.
Mobile was also a big opportunity for audience interaction, with QR codes dotted about the building. Users can scan them, which then takes them to a mobile app, which then displays more information about the object and gives users an opportunity to Tweet and socially share their discovery.
As Jane Audas told me in an interview last year, this kind of social interaction is a big step for museums in general, where live comments without pre-moderation can make them nervous. “A thing called post-moderation is at the crux of our work,” she said. “Instead of looking at every comment a visitor makes before it goes live in the gallery (and later on the web) the project publishes all comments instantly. It is allowing (relying) on users in the visitor community to ‘remove’ offensive comments, thus moderating SI for us.”
Post-moderation and trust were the key lessons, says Royston, who mentioned only “very, very few, single figures” of comments had to be removed. “We are taking this project forward… and embedding it in the museum as part of a major project we’re developing for the First World War. What’s fantastic is that everything we’ve learned from this project is now informing what we do as we embed it as part of the museum.”
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