Archive

Posts Tagged ‘Digital R&D’

IWM’s Social Interpretation project: engaging with audiences and taking it forward

January 29, 2013 Leave a comment

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.”

LSO Pulse and Punchdrunk: what lessons will other arts orgs take from our projects?

October 22, 2012 2 comments

It’s been a short while since my last update (not least because I’ve been on holiday!) and it’s been great to come back to so many views and shares on the blog, so thanks very much!

The last few posts in the series have asked questions of some of the projects (for example, we’ve heard why clarity has been so key for the Happenstance project and how, for the Dero project, success is down to committed project partners) – it’s been interesting to see the different answers and compare and contrast, but there’s a wider question I think needs addressing:

What are the wider implications of these projects? What lessons will other arts orgs take from all the experimenting?

For Punchdrunk, and their digital project, it was about rethinking how audiences and companies need to rethink how they connect digitally, particularly pertinent in this fast-paced world of tech and social media. “The conventional model doesn’t fit and needs to be continually interrogated,” said Pete Higgin, enrichment director at the company. “I think as part of a body of projects in the pilot programme, this one is certainly part of a wave of work that will explore further the crossover between digital and the arts. On a company level, our eyes and ears are opened to new possibilities and we are exploring ways to integrate digital work into our company.”

For the LSO Pulse project, the lessons were in mobile

For Nico Koepke, CEO of KODIME, the tech company involved in the LSO Pulse app programme, the lesson was purely mobile: “Students and other young audiences can be very effectively reached and engaged on the mobile channel, and they appreciate the offer and reward with loyalty. We also feel the project showcased that marketing and selling tickets via mobile including the reasonable complex transaction mechanics does not have to cost a fortune or require a new boxoffice system.”

Jo Johnson, digital marketing manager for the London Symphony Orchestra (the organisation behind the Pulse programme) it was about looking at the bigger picture: “We have taken our prototype app and are in the process of widening its scope to include several other orchestras and venues, making one big student scheme for classical music concerts in London. While collaboration between arts organisations is nothing new, this will be the first time that London’s orchestras have worked together on such a large project, pooling resources – financial and people – to reach more of London’s student population to hopefully get them to classical music in greater numbers. For a group that is traditionally in competition with each other, it feels like something pretty revolutionary.”

… which is exactly what the Digital R&D Fund is all about: creating revolutionary ‘things’ and forming revolutionary ideas to filter down through the ranks so that all arts organisations can get in on the action.

Punchdrunk and podcasts

September 11, 2012 Leave a comment

As part of the next series of posts for this blog, I’ll be asking some questions of the experts behind the Digital R&D Fund to see how their answers compare and what other, perhaps smaller arts organisations can learn from…

Previously we heard from Jo Johnson, digital marketing manager at the London Symphony Orchestra, and Claire Harvey, one of the digital bods behind the Dero project at Sage Gateshead. This week we ask the same question of Pete Higgin, enrichment director at Punchdrunk, and find out about what he thought was the success to his project.

Question 1: What do you think the key to success has been with this particular project?

“The key to success has been good communication between all teams involved. The challenge was always to co-ordinate a project in New York, which was being conceived and built in London, Boston and New York. Undoubtedly the support, resource and opportunity offered by the project team in New York was key to making the project successful too.”

We’ll be asking this question of the other projects in due course, and finding out their answers to some more. In the meantime, have a listen to the latest Arts digital R&D podcast, the third in the series. This one is all about using digital channels and technologies to distribute arts and cultural content and reach the widest possible audience, including new and international ones.

The LSO Pulse app: good project management key to success

August 28, 2012 2 comments

As part of the next series of posts for this blog, I’ll be asking some questions of the experts behind the Digital R&D Fund to see how their answers compare and what other, perhaps smaller arts organisations can learn from…

Question 1: What do you think the key to success has been with this particular project?

Jo Johnson, digital marketing manager at the London Symphony Orchestra, says that the project’s success was dependent on good project management.

“The nature of our project was such that good project management was key. We had quite a short amount of time to get something planned, built, tested and out into the market and the only way to get this done on time was to set out the deadlines, requirements and expectations from the start and stick to them rigidly.

“Of course it helped that we had a very clear idea of what the project was before we took it into the application process, so we were able to get going on it before the ink on the contract was even dry! And because we were basing it on an already existing student scheme, with an already existing audience to market it to and test it on, the only question as to whether it would succeed was whether the students would adapt to this new bit of technology easily or not, rather than whether the idea itself would work. Thankfully they did!”

The LSO Pulse App: mobile apps, QR codes and the problem with paper tickets

July 5, 2012 6 comments

The LSO Pulse project is the London Symphony Orchestra’s discounted ticket and loyalty scheme for students – they offer £6 tickets for 10 (thereabouts) on selected concerts throughout the LSO season at the Barbican to students aged 18 years old or more. 

I caught up with Jo Johnson, digital marketing manager at the London Symphony Orchestra to find out how the Pulse project was coming along…

“We wanted to update the technology we used to run the scheme and to give it a 21st century feel,” explained Jo, which is why LSO chose to use an app to reach a younger audience. “The app lists all the events included in the scheme, allows the students to share their attendance on their social networks and enables them to buy tickets for themselves and their friends directly from the app.

“It means that they don’t need to leave it in order to call or book online – this also means that they don’t have to pay a booking fee, which would usually be up to a third of the ticket price again on top.”

Jo explained that the tickets are delivered to the app as a QR code, which users can bring with them on the night for scanning on entry: “Students also collect points in the app for completing actions such as sharing with their friends, buying tickets for themselves and their friends and for filling in short surveys after the event. Points build towards a tiered series of rewards, such as CDs, free tickets, free drinks and meals, Amazon and Spotify vouchers – at the end of the season we reward the person collecting the most points with a trip to Paris with the LSO.”

Jo was keen to mention that, overall, the project has gone very smoothly: “We were delighted with the initial take-up of the app by our existing LSO Pulse members and pleased to see that the transition was pretty smooth for them. We haven’t had too many bugs surface in the app itself, and have had a smooth ride on the scanning hardware side, with no on-the-night disasters or total tech failures (aside from a couple of minor Wi-Fi problems!).

“We have been surprised by some of the ways in which the students have used the app – for example, a couple of users without smartphones used the mobile website on a desktop computer and then printed the QR code ticket to bring with them on the night, something we hadn’t considered as a possibility. Luckily this worked just as well!”

Because LSO are yet to do all the data-crunching, Jo didn’t have any concrete numbers but revealed that early indications show that awareness of the scheme itself has grown, with more first-timers attending LSO concerts.

“Our main challenge was related to the scanning process in our venue, the Barbican Centre,” admitted Jo. “When we sat down with them to explain what we wanted to do, they raised an issue with their auditing process – paper tickets were a required part of this and entry to the hall was not permitted without one. They were also concerned about their stewards having to decipher more than one type of ticket quickly when large numbers of people were entering the hall together.

“As a short term solution we decided to set up a dedicated desk for scanning and printing off the tickets that had been purchased in the app – stewards could then hand the purchaser the corresponding ticket after their QR code ticket had been scanned. This also meant the stewards didn’t have to be trained to use the scanners.”

Jo also mentioned another work-around they had considered: “We also thought about a solution whereby we purchased a ticket printer which printed a ticket when the QR code was scanned, but we discounted this solution as the Barbican could only accept tickets printed on their own stock.”

Despite this change to the initial plan, the app team have been working with the Barbican on future implementation of mobile ticketing, and Jo said she’s delighted that their test project has been able to demonstrate to them the pros and cons of this method: “We have however still been able to test the full solution twice at our venue, LSO St Luke’s, with stewards scanning the phones and without handing out paper tickets, which we were pleased to see went smoothly.”

Matthew Caines is a journalist currently blogging and posting updates from all eight projects involved in the Digital R&D Fund for Arts and Culture

IWM’s Social Interpretation project: taking the project North and why tablets are tough

June 29, 2012 2 comments

Jane Audas, a freelance digital producer involved in the Imperial War Museum’s Social Interpretation project (SI) submitted this excellent diary entry updating us on how the project was coming along…

Social Interpretation project

A child using a kiosk at the Imperial War Museum

Social Interpretation moves onward. We are just snagging our app and sorting digital assets for more QR code roll out in the next month or so.

In July we will install 4 SI kiosks and 10 QR codes against objects in Imperial War Museum North. We have scaled up the kiosk size and are using touch screens rather than tablets. Tablets have not been so successful for us, maintenance-wise and usability-wise.

We are also going to change the user interface for the kiosks in the North, to ‘visitor voice’. This is so that they become proper comment kiosks, rather than, as they are in London, digital labels and comment kiosks – we think this will clear any confusion as to the purpose of these things.

So, how engaged have people been with the idea of commenting against our museums objects? We have had quite a few interactions – over 2,700 comments since April 5. They include lots of spam and lots of comments saying the museum is great. But there have also been some rather affecting comments.

From the SI kiosk underneath a 1939 baby’s gas mask we got the following:

Strange to think that this was not so long ago! I can remember the war as a teenager, only seems like yesterday. Tomorrow, I celebrate my 82nd birthday!

And underneath a VE day celebration photograph – with the prompt question: Photographs like this have become well-known as part of the story of the Second World War. Do they give a complete picture of how people felt? – we read:

I just could not think about how sad I would be if me, my mum and my friends were in the war

We hope and expect the level and depth of engagement to increase when the SI web pages go live. If you are sat in the comfort of your own home, browsing objects you are interested in, you are much more likely to think, type, collect and share it. Probably more likely than you are to in a busy gallery, typing on to a small tablet screen.

And the QR Codes? Well, they are another story..

Punchdrunk: the challenges of online, offline, time and space

Pete Higgin is enrichment director at Punchdrunk, the British theatre company and masters in “immersive” presentation theatre. As part of the Arts Council, Nesta and AHRC Digital R&D for Arts and Culture Fund, Punchdrunk has been experimenting in connecting the online and physical performance spaces.

Punchdrunk Sleep no More

Connecting online users…

In particular, Pete and Punchdrunk have been working on connecting a live Sleep No More audience member to an online companion, but when I caught up with him he admitted the project has not been without its challenges, all of which he says have made the project think more carefully about planning and operating – something arts organisations can learn from as well.

“The Atlantic Ocean was a massive challenge in itself, as was working in three different teams in three different cities,” said Pete. “I’m not sure we actually fully overcame this but regular Skype meetings, a pretty constant stream of conversation and making the most of what little face-to-face time we had helped.”

He also added that it can be incredibly challenging integrating a new piece of work into an existing production: “The project attempted to connect two online and offline participants, but this had to happen in a show which demands the audience be silent and turn off all mobile devices, which makes it quite difficult to facilitate.”

But Pete actually saw this, in part, as an advantage because it forced the team into working around something specific and focused: “Interestingly these parameters helped shape the project and gave us debilitating but important boundaries – ultimately, we had to embrace these and find distinct moments for communication.”

Another challenge that Pete mentioned was time: “It was a massive challenge, and we could have done with much more and also a second iteration of the project.” But learning from these kinds of challenges is what will make the next rounds of experimenting and testing so successful.