How the Grinch Flayed Christmas

OK. I am all for holiday theming in museums. You wanna throw a wreath on a door? Put stockings over the hearth? A menorah in the window? Maybe, say...a red nose on a dinosaur?

Fine.

But this??? NO.

Meet the newest addition to the BW show at the O2. 

Von Hagens, you are one sick puppy. Someone's getting coal in their stocking, I think.

Top Exhibits of 2008. ORLY?

            This week, Time Magazine and CNN published their Top 10 of Everything for 2008. Included in this myriad of lists was the “Top 10 Museum Exhibitions of 2008.” The 10 exhibits chosen are:

•  Sol LeWitt: A Wall Drawing Retrospective – MASS MOCA
•  Gustave Courbet – The Met 
•  El Greco to Velazquez: Art during the Reign of Philip III – MoFA Boston
•  Terra Cotta Warriors and the First Emperor – The Bowers and the High
• Moore in America – NY Botanical Garden
• Louise Bourgeois – Guggenheim and LA MOCA
• Kirchner and the Berlin Street – MOMA
• Bernini – The J Paul Getty Museum/Nat’l Gallery of Canada
• Tara Donovan – Institute of Contemporary Art, Boston
• William Eggleston: Democratic Camera – Whitney Museum of American Art

             I have not seen these exhibits, by virtue of economics, time and geography. It would be unfair for me to make judgments on them by virtue of a small photo and a short review in Time Magazine. Nevertheless, I will now proceed to lump them into a group and talk about them.

             All ten exhibits are art exhibits of some sort (One could argue that the Terra Cotta Warriors exhibit is a cultural/ethnographic/history exhibit, but it is presented as art). The brief write-ups on each exhibit focus on the content, and on the importance of the artist/culture, rather than the exhibition itself.   It would seem these shows are large – words like “monumental,” “exhaustive,” and “sizeable” pepper the reviews. 

             I would assume, unfairly perhaps, but experience dictates my assumption, that these exhibits are completely object centered, with little to no interactivity. I imagine them littered with lengthy text panels and dense quotes from the curator. I imagine that the point of the exhibit was to highlight the tremendous work done by the artist. And I imagine that for the most part, these exhibits are well outside the comfort level of potential visitors.

             In effect, all of these shows continue to lend credence to the idea of the museum as an impenetrable ivory tower, where the masses come to learn from the learned curators.  I wonder if, and indeed hope that, the top 10 list is not based on audience feedback, earned revenue, visitation, blog posting, etc, but rather on the opinions of a small group of art critics at Time and CNN. It seems more than likely. However, the public does put trust in the recommendations of art critics at such media institutions as The New York Times, the Wall Street Journal, and Time Magazine. If the well-educated critics there think an exhibit is exceptional, it must be so, right? So, I should visit these exhibits if I can, and will try to make myself seem brilliant and cosmopolitan. Even if I really don’t get it.

             And now we find ourselves in a cycle. Museums produce more of the same – object centered exhibits, as opposed to visitor centered ones. Even Time notes that the Coubert exhibit was “old fashioned,” albeit “in the best way — rich, thorough and smart.” So, old-fashioned exhibits are lauded in the press, which gets the attention of donors, visitors, board members, etc. So if Museum A has earned kudos for this sort of exhibit, why couldn’t it work for Museum B? All the while the Community Museum of XYZ is producing groundbreaking programs and exhibits, but is all but invisible to the world at large.

            It brings back to mind the “chain” museum. These 10 exhibits are so homogeneous that they could all be on exhibit at any of the 10+ museums mentioned. There is nothing about any one of these exhibits that speaks to a specific space, community or audience. These are McExhibits. I can only hope that the smaller museums of the world begin to experience the resurgence that “mom and pop” style diners have, or boutique shops and hotels. Wouldn’t it be nice to see one of these on the top 10 for 2009?

AWESOME!

http://jumpinginartmuseums.blogspot.com/

Things like this make me happy. I wish the people sending in photos also sent photos of the reaction from security.

Can we jump in other museums?? Is this a worldwide movement waiting to happen?

Focus. Focus.

Divergent thinking -

Excellent for class discussion, riffing on a topic over a beer, and exploring the ideas of a book or paper.

TERRIBLE for writing a coherent piece on one topic.

Beating my head against a wall. Over and over. 

Long time no post

I was so good about posting for a while, then nothing. Ah well, I blame finals and the holiday crunch. Hard at work on this paper on design and critical thinking; knee deep in new museology concepts. I'm having a hard time organizing thoughts, and am afraid this may get away from me... 

I tend to get so deep in research that I lose focus, so I am trying to keep things pointed to one topic. I can always go back to explore later if I want. Especially as I am a one class lady next semester. 

Thinking about subtle and overt politicization of exhibits. What got me thinking about it is comments I have heard about the fetal development area in Bodies/Body Worlds. Almost chapel like - set apart, with recumbent Madonna-like female body. Takes the viewer from a scientific and clinical frame to a spiritual one. Is this subtle politicization? Is that even a word? I cannot help but think that the presentation speaks to the pro-life movement and puts off the message of "the miracle of life." 

I am trying to come up with other examples. Obviously many museums have subtle or overt celebrations of militarism, but what else? And, does it make a difference if it is, say, the Spy Museum's Terror exhibit versus an exhibit from a non-profit? I'm especially interested in exhibits that are not intended to be political, but become so by nature of their physical presentation. 

If anyone is reading this, and has examples, I'd love to hear them.

Dr Jekyll and Mrs Hyde

Sometimes I feel like I am two people, museum-wise. Take today for example. Between the AAM webinar on Excellence and Equity and class tonight, I spent about 7 hours thinking about audience advocacy, civic dialogue, the role of education, etc. All good, soul-edifying things.

But I also spent several hours working on things to drive revenue, and ways to get parents to pony up cash for premium experiences.

And I should probably feel bad about that, but I really don't.

So, I guess what I am wondering, is this: Is it ok to play both roles? Can you advocate for audiences and still play the business angle? I think my response is yes.

I sometimes feel like a broken record in class. When in a classroom full of students and often professors for whom museum work is largely still theorhetical, I feel I need to remind them that museums are an odd combination of business and educational/cultural institution. People always seem to forget the business end of things.

The modern museum is constantly faced with a need to compete for your constantly decreasing free time. We need to keep you coming in the doors. LIke it or not, the money you give to museums, through tickets, donations, retail and food service, helps us not only keep the doors open, but care for collections and continue our mission.

So how do I reconcile championing things like photo sales and face painting - and charging for them- with my passion for audiences and education? It's not always easy. I almost have to be two people, part savvy businesswoman who looks at theme parks and malls and says "what a great idea!" and part subversive educator who looks at websites and tiny museums and library programs and says "what a great idea!" When I am lucky, the two things meet up. When I am not, they juxtapose in ways that are uncomfortable.

I cannot say that I am sorry for thinking of ways to generate revenue. It is not my intention to nickle and dime visitors. I can only hope that what we are coming up with is an experience that is beyond a simple retail transaction. I hope that I manage to balance the two sides of my personality.

Anyone out there have similar experiences? Or thoughts?

How can your museum help end poverty?

Today is Blog Action Day. The topic is poverty. Blog Action Day is about getting bloggers to discuss one issue, to change the conversation and get people talking. I'm so on board with that. So a celeb blog (like Perez, which yes I read, don't judge me) could discuss Brangelina and others who are attempting to make a difference in the world.  A blog about politics can discuss policies and such that can help. But what can a blog about museums discuss?

Much is made of the importance of museums to society. Museums provide a place for contemplation of aesthetic wonder, for learning about the past, and for imagining the future. Ideally, museums provide resources to the community, educate citizens and offer opportunities for engagement with others. But can museums help alleviate basic problems? Can museums have an impact on poverty and hunger? You all know the answer - of course they can!

So, here are some ideas, off the top of my head...with some links.

The Tenement Museum has amazing community programs that help address poverty through dialogue and education. The most powerful programs  target school children. One program leads students through a discussion of class bias, and another teaches about substandard housing, and encourages students currently living in substandard conditions to report violations to the housing authority. These programs empower people to seek ways out of the cycle of poverty and oppression. 

The Workhouse, in the UK, chronicles a solution from the past.  While many of us would shudder at the idea of the workhouse today, we cannot forget that the minds behind the idea meant well.  Programs help visitors relate past and contemporary issues of poverty and welfare. 

One program idea I've had for a while would involve working with groups like Spatulatta or Young Chef's Academy to teach kids and families to create easy, healthy, cheap meals. Food is expensive, and increasingly so. Parents dont have time or energy to cook. My own spouse grew up with this model. Mom's tired from working overtime. Food is expensive, and there are only two of them, so, its cheaper and easier to hit McDonalds than to make a meal. The problem there is that you set up kids for a lifetime of drive-thru dining - which leads to nutritional deficiencies, high cholesterol, diabetes, obesity and overall poor health. Museums, while teaching basic nutrition, should help teach families about budgeting, cooking small meals that can be reheated, and making healthy snacks. They should help families embrace local markets and learn to clip coupons.

In the same vein, many museums are located in urban areas, but areas with green spaces. Most museum campuses have some sort of green space available. How great to turn an unused patch of land into a community garden? Families can work their patch to plant veggies that they can then harvest and eat. Too many tomatoes? The museum can teach the science of canning or freezing. Or better yet, partner with a food bank and donate the proceeds. 

Many museums host resource fairs. The Children's Museum of Indianapolis hosts an annual back to school festival. This festival offers visitors a chance to have vision and hearing screenings done, as well as get basic immunizations. All at low or no cost. In addition, we partner with Backpack Attack to distribute school supplies to over 20,000 children in our local area. 

Offer classes - as a children's museum we tend to focus on kids, but parents need classes too. We have recently begun hosting basic finance classes. We also host computer classes through our local library branch. Offer babysitting certification. Teach parenting skills to young parents. Offer resources for foster and adoptive parents. Offer opportunities and respite for those caring for elders. 

Discounts - no one should ever be barred from your museum because they cannot pay. If they will not, thats one thing, but if they truly want to come, there should be a way. Offer programs, opportunities, free days, etc, to allow everyone to have access.

Most importantly though, museums can help by working at the roots of poverty. Help your visitors understand that poverty affects people in every city in the world. Help children and families recognize consumerism and the problems it causes. Help them understand that people living in poverty are not lazy, nor are they stupid. Help them understand that barriers to education cause a cycle to exist. Stop promoting the "pull yourself up by your bootstraps" mentality that if you want something enough you can do anything.  Stop promoting the myth of the meritocracy. Start the conversation about why this isnt true. Help visitors appreciate the opportunity to learn, to get good health care, and to have a hot meal and warm bed. Help grow compassion and understanding. Help them name the prejudices and biases that keep people locked in poverty. Help empower them to seek justice and stand up to those who would keep the cycle of poverty going.  Show examples from the past and connect them to the present and future. Bring about understanding.

Museums educate. That's what we do. We can host free nights and give things away until we are blue, but unless we educate people - both those in poverty and those who believe they will never be touched by it (especially those who believe they will never be touched by it) then we will not break the cycle.

OK, soapbox done. Carry on.

Blog Action Day, 08

Tomorrow, October 15, is Blog Action Day. The topic for 2008 is poverty. What to write about? I've a few ideas percolating. We'll see what comes out, eh?

Illustrated Jocularity

If you aren't currently reading "Wondermark," I insist that you start.

Behold today's brilliance:

Click link to see larger. 

I'm a PC - part 2

So, earlier I posted about the Mac/PC wars, and Microsoft's very lame attempt to be cool. Well, as predicted, it went over like a lead balloon. However, if you've seen their new ads, I have to admit, I like them! Rather than trying to be hip and clever, they embrace the fact that maybe they arent as cool, but that more people still use PCs. I love the "I'm a PC and I'm not a stereotype" ads.

The only question remains, did it really take them this long to come out with this rebuttal? They need a new marketing team.

Banned Books Week

Tomorrow marks the start of Banned Books Week. This year I will be reading "The Golden Compass," which I cannot believe I haven't read yet. I'll also re-read "And Tango Makes Three," which is probably the most adorably innocuous book to top the list of banned books. 

So, what are you reading?

Let it be known

That I am terrible at "free writing." Has the world of education and work so destroyed me thus far that when faced with a blank page and free choice of topic, I cannot find a damn thing to write about in a coherent and skillful way? Or have I reached a point where I write like a damn politician, without ever making a statement, but rather arguing both sides until I am blue? Perhaps I am so used to research papers that I feel the need to present compelling evidence and cannot state a damned opinion.

And apparently this makes me angry, hence the use of "damn" throughout.

Perhaps I do need to start creative writing again. Maybe the activities will help build the atrophied muscles.

Next few blog postings will be attempts at "short essays...reflective of...ideas, thoughts, concerns, and interests around the idea of critical museum pedagogy." I swear I am trying.

Designing for Critical Thinking

A short bit on designing for critical thinking/dialogue. Some bits of this were originally part of an article I co-authored for the Fall 2007 issue of Museums and Social Issues. This bit was unfortunately cut, but I feel like revisiting it.

Museums are not classrooms. We hear it constantly; we repeat it constantly. Attempts to bring classroom methods to museums are often met with heavy resistance. Partly this is because many attempts to integrate classroom philosophies into museums fail to adapt to the unique environment of non-formal education. Partly this may be because museums pride themselves on being non-formal, and thus fail to see the value in philosophies based in formal education.

Whatever the reason, I find myself stuck trying to find real ways to effect the goals of critical pedagogy in the museum setting. True critical pedagogy, as championed by Friere and others, requires a skilled facilitator to help participants through the process of learning. In much of the reading so far, it seems that facilitation remains the best way to stimulate dialogue and critical learning. So how can we facilitate, through an exhibit, without a guide or docent?
Exhibits communicate in several ways: through objects, interpretive text and design. So, how can an exhibit, without a single person to facilitate, encourage dialogue and inspire visitors to think critically about their world? What elements of design and development encourage critical thought and dialogue? Conversely, what elements may inadvertently communicate hegemony and positions of power?

In the original incarnation of the article “Can You Do That?,” we included a section on designing for dialogue. I would like to further investigate this concept and find an avenue for publication. I think that exhibit design often gets overlooked in favor of programming, but many museums cannot support long term programming with professionally trained facilitators.

Objects:
• As indicated in the Hooper-Greenhill, “objects do not speak for themselves…objects are spoken.” Every exhibit displays curatorial choices in display. Linked objects, display context, use of images and object display style all communicate to the public. The choice of object displayed can communicate ideas about power and control as well.

Labels:
• Labels are generally the way that museums communicate through exhibits. Labels should strive against being overly didactic and should serve to stimulate critical thinking. As per Lindauer, labels can be used to disrupt hegemony and displace authority. Prompting questions can also serve to stimulate dialogue.

Design:
• Comfort! Critical thinking is uncomfortable. Dialogue is uncomfortable. If you try to combine these with an uncomfortable physical environment, you set yourself up to fail. Soft seating, pleasant lighting, protected spaces, etc, all can lead to enhanced opportunities for dialogue and thinking.
• Placement of exhibits and components is important. What message does it send if an exhibit about this history of communities of color is tucked back in a seldom visited corner? Or if an exhibit on migrant farm workers is displayed in a poorly organized hallway? Likewise, if hegemonic displays are given a place of prominence, it sends a similar message.

More on this to come.

Marketing and getting the joke

On the way in to work today, I heard on NPR a brief mention that Microsoft, hard hit by the brilliant "I'm a Mac" ad campaign, has enlisted comedian Jerry Seinfeld to help counter the ads and reestablish its "street cred."

A few things come to mind.

1) No one on NPR should ever use the term "street cred." Especially not as it concerns Jerry Seinfeld.

2) The ad geniuses at Microsoft just don't get it.

The "I'm a Mac/I'm a PC" ads have been successful because they understand their audience and appeal specifically to it. Better than that, they know what audience they WANT to attract and have pointedly played to that group. The young, hip, artsy crowd immediately identifies with Justin Long's uber hipster/slacker. We (yes, I am totally counting myself in this crowd) laugh at his good natured ribbing of John Hodgman's PC. Long's Mac is the ad world's version of Jim Halpert. And, we get the joke. We see nice guy, cool guy, guy we want to hang out with. And, we think that we too should have Macs, to be cool and hip.

Trying to use Seinfeld to counter this image just proves that Microsoft doesn't get the joke. Jerry Seinfeld is a funny guy (so I hear, I never really cared for him), but his appeal is to the fans of his TV show - i.e. people who were 30somethings almost 20 years ago. Totally different audience, and if that is what Microsoft is after, great! However, if the goal is to reclaim the "youth vote" as it were, they need someone with ACTUAL "street cred."

How does this relate to museums (see, you knew I'd get there eventually)? Most museums are now marketing to younger audiences - either parents of young children (25-45) or young professionals (25-40). These audiences are increasingly responsive to a level of fun and humor that is not always present in museum marketing.

The IMA did it well with their campaign for "Roman Art from the Louvre," most notably with ads with the line "togas not required." Silly, simple, and clever. I'll be on the lookout for clever advertising for museums, as there isnt much out there.

Museum directors need to trust their marketing teams to come up with ideas that appeal to the target audience - which may not include the director! Too often I wonder if directors push for advertising that appeals to them personally, rather than what will appeal to the target audience. There is so much creativity in museums, it will be great to watch it go wild.

So, way to go Microsoft - you basically proved Apple's point for them.

Another semester begins

Classes start tomorrow for another semester in the long road to my master's degree. I see people who finish in 2 years and want to scream. I started this in fall 2006, and wont finish until spring of 2010. Which is INSANE, but ah well.

I'm looking forward to the semester, and to being academic again.

More updates on museum geekery soon.

Another article

This time from Time Out Chicago, bemoaning the current focus on kid-friendly exhibits. I am of two minds about this. On one hand, I can understand that adults, especially those without kids, might feel left out of current offerings at museums. But on the other hand, I think too often adults feel like they "should" learn a certain way. They forget that they can also learn by playing. Of course, maybe working so long in a children's museum has warped me. :)

Adult Education in Museums?

The venue’s current grown-up–geared exhibit is a beautiful melange of antique space trinkets called “Planetary Machines.” Mechanized 18th- and 19th- century models of space along with pages torn from ancient encyclopedias let you peek into the minds of Enlightenment-era elites. Difficult to dumb down, texts bestow large chunks of information... it’s refreshing to, quite simply, observe an artifact and read about it.

See? Why do we insist that all adults want to do is read big ole text panels about objects? I mean, I love the idea of this show, but I would want to play with the orrerys, maybe even try to make my own. I am not a child (although I am rather child-like) but that doesn't mean I don't want to play.

I think there has to be a middle ground here. We often refer to it as the "Looney Toon" ideal. Watch an old Bugs Bunny cartoon with a kid sometime. Or The Muppet Show. Or Shrek. The reason these programs are so successful is that they appeal on a broad level. There are jokes that a 3 year old can get. And there are jokes that are clearly targeted at adults. We should be striving to build our exhibits to suit everyone.

We are currently working on a refresh of our winter exhibit, Jolly Days. One thing the team is pushing for is something for the grown ups. Even something small, but something that makes them laugh, smile, or better yet, learn something! I think we generally do a good job of creating exhibits that have something for everyone, but we could always do better. Our "something for everyone" sometimes translates into "something for preschoolers, and elementary age, but probably not older." Given our audience, its understandable, but even something small can help make the experience better for everyone.

Blockbusters: Boom or Bust?

Charity (my awesome boss, though she hates me calling her that) and I were just discussing the sudden interest in our traveling exhibits. Not a bad thing, not by a long shot, but still, sudden. We produce traveling exhibits for children's museums. We currently have 2 on the road, and one more scheduled for 2009. And about 4 in the works - ish. And it seems, that we will continue to have them all booked up all the time! Which, is wonderful...but it does lead me to wonder what is happening to the industry that we are being so flooded with requests.

A few things come to mind, and none of them are any more than the ramblings of my own mind. So, don't quote me.

1) Museums are under pressure to maintain high levels of visitation and membership, and have seen that temporary/traveling exhibits can help with this.

There is always discussion on mailing lists and at conferences on the value of traveling exhibits. On one side of the argument, is it worth the money (sometimes LOTS of money) spent on a temporary show, when the same amount could build a gorgeous permanent exhibit? Decent large shows (5000 -8000 square feet) now regularly rent for $150K+ for 3 months. Add in shipping, labor, etc, and you've got a sizeable cost. Blockbuster shows can require a guarantee of millions of dollars - which means if you don't make that much, you owe them cash. It's a hefty investment and in a museum struggling with finances, can be a huge gamble.

On the other side, the argument is that visitors are fickle. They want something new every time they come. For a museum such as ours, over 50% of our visitation comes in the form of members - who often visit 3-4 times per year or more. Yes, they visit their favorite spaces, but if you never give them new, they will not come back as often. In a market like Indianapolis, it doesn't take long before you have maxed out your audience. Then you have to rely on repeat visitation to increase your numbers. Temporary shows help with this, as it gives people a call to action to come back. Add to this that changing exhibits are easier to market, and you have a strong argument in favor of hosting these shows.

2) There isn't anything out there

My job is to manage our temporary/special/changing exhibits. Whatever you want to call them. And let me tell you, pickin's are slim. Where once we hosted exhibits about toys, bears, or economics - we now almost exclusively host shows featuring cartoon characters, popular books, or grown up artifact shows. The name is driving selection as much as the content. Even at a children's museum, it has to be sexy. Nanotechnology? Love it, want it, would love to host it. Can we market it? Ehhhh, I don't know.

And, with the focus on licensed product for exhibits, that means there are fewer museums that can produce these exhibits and fewer museums that can host them. And, the well of IP may be limited, but the good stuff at the top goes fast. Sure, you can probably get a license agreement from the author and publisher of a marginally popular children's book, but you probably can't sell/market it.

2) The growth of the blockbuster exhibit world is slowly killing the little guy.

I'm not going to pull any punches here. I firmly believe that, no matter how cool they are, blockbuster exhibits are killing the industry. They are another step towards the corporatization of the museum world, and they are further separating the museum world into a sort of "haves" and "have nots". As mentioned above, blockbuster exhibits come with a hefty price, but not just financial.

Blockbuster exhibits, like Body Worlds, Tut, Vatican, and Titanic, came on the scene in the 70s, with the first Tut show. At the time, that show was groundbreaking, and the crowds were more than happy to stand in line and shove through like cattle. The term "blockbuster" came from the movie industry - a term meant to imply a double threat, a financially viable show that features amazing content and quality exhibitry. But, as we have seen with the film industry, just because something is a blockbuster, it doesn't mean it is good. I give you High School Musical, Speed Racer and The Mummy 3.

The blockbuster boom has led to a glut of exhibit copies (there are at least 3 Body Worlds on the road) and knock-offs (Bodies: The Exhibition - more on that in the next post). The simple supply/demand model kicks in, and as more exhibits become available, and visitors have more options, the exhibits become less financially sound. If you know you can see Body Worlds anywhere, why worry about driving to see it? There's no rush, no call to action. There is no longer a "limited time only."

Other issues:
* With the perceived success of exhibits like Tut and Body Worlds, everyone wants in on the game. When a museum proposes an exhibit to an IP holder or the owner of an artifact, they expect handsome compensation. After all, if Tut can rake in millions, why can't their pirate ship/costume collection/famous toy exhibit?
* With the drive to use licensed product, exhibit producers are bending more and more to the will of the IP holder. The museum or exhibit company is no longer in charge of the content or design of the exhibit. We are no longer trusted with our own expertise. And the exhibits suffer for it.
* The drive to create these shows leads to shorter development time. This leads to mixed messaging, mish-mashed content, and sloppy design.

Well, this became a rant on blockbuster shows, but so be it. I won't say that I didn't enjoy Body Worlds, or Titanic. I wont say I am not excited about Tut. But, like everything else, the bubble cannot hold. Soon, very soon, the blockbuster bubble will break, and museums will be left with empty schedules and a demanding public. So what then?

How can we as an industry return to creating strong exhibits that stand on their own, without a $15 ticket charge and a hard bound catalogue? Seriously, I'm asking.

Transported by an exhibit

This weekend, I took a whirlwind trip to the Arizona Science Center, to see The Chronicles of Narnia exhibit. While there, I started thinking about exhibits that transport you - that really take you out of yourself for a while. AzSC did it in Narnia, but also in their Forces of Nature exhibit.

During the development of Dinosphere, here at The Children's Museum of Indianapolis, immersive was the buzzword of the day. Now, usually a "buzzword" is a bad thing, but really, the word is completely appropriate for what was created. The exhibit IS immersive and is very effective. Usually when we talk about immersive exhibits, we talk about the elements that engage the senses. Dinosphere uses dramatic lighting and projection (sight), amazing audio (sound), the scents of magnolia blossom and dung (smell), and hands-on casts (touch) to create this environment. But a truly immersive environment - and indeed this one - is more than the sum of its parts.

When you step into Dinosphere (and I do believe I am not being completely biased here - just slightly) you are met with a feeling of being taken away from the rest of the museum. You know you aren't in the Late Cretaceous, because, well, those Dinos wouldnt be just bones, would they. Nor would there be as many strollers. But you feel elsewhere. Even with the crowds and the children and the fact that you know you are in a museum, for just a moment, you are able to lose yourself in the exhibit.

So, why did my trip to AZ trigger this? The two aforementioned exhibits each had a moment of transporting the visitor elsewhere, but in very different ways.

The Narnia exhibit has one of the best "reveals" of an exhibit I have seen so far. I think the only show I have seen recently that comes close is Real Pirates. The queue space is dressed out as CS Lewis' study, with additional photos/posters/etc that explain (kind of) the practice of sending British children to the country during WWII. The design starts with a lion motif there, with some great propoganda posters showing a regal lion to represent Britain. There were also amazing artifacts, which I fear would be overlooked with a packed queue. Among the artifacts were the actual wardrobe from Lewis' office that inspired the book, as well as letters, a journal and a desk.

The group is gathered into the orientation theater - a wonderfully recreated Spare Oom. The exhibit geek in me was particularly taken by the rubber floor that looked like an old hardwood floor. The orientation theater didnt show a film, but rather had an audio track, narrated I believe by Lewis' stepson, and some environmental bits - rain at the windows (because it was a rainy day) and dim lighting. At the moment of the reveal, the spots came up on the wardrobe doors and they opened, revealing a passage lined with fur coats and a beautiful wintry scene. And it was snowing on me. Amazing! There I was, by the lamp post, with a backdrop of snowy trees, with flakes coming down on me.

For a few moments, I was Susan (always did identify with the one not allowed back into Narnia more) stepping into Narnia for the first time. I was completely transported in that one area. Now, I'll probably have more at some point about the rest of the exhibit, but for now, know that the reveal is tremendous, and that you really do feel there, if only for a moment.

A contrast to this is AZScience's Forces of Nature exhibit. Narnia, like Dinosphere, takes a page from classic theatrical sets and immersive theme park settings, complete with foliage and faux rocks. In Forces of Nature, all you get is a metal platform, 4 large screens and an assortment of fixtures hanging above.

The theater was amazing! The show was a few minutes long (I honestly don't know because when I tried to time it I kept getting distracted by the awesomeness) and runs through various earth events - from lightning strikes to hurricanes to forest fires. The above fixtures provide light, sound, wind, rain and heat to let you experience these forces.

The show begins with a beautiful video of lightning strikes complemented by flashes of lights and rumbles from the floor. The segment ends with a dramatic shot of a tree being struck, coupled with a bright flash and a "CRACK!" along with a big shake of the floor. And all the children around screamed. Then we move into forest fires - as the heat lamps all around raged, and everyone clustered to the middle of the platform to escape the heat. Then a tornado, an earthquake, a hurricane with "rain", a dust storm, monsoon....

It was amazing. The visitors were so into it, and were transported. It didnt matter that they were just standing on a platform in a busy gallery. There was nothing that blocked the rest of the exhibit from view. But when that hurricane started, the adults pulled their kids closer. When the fires raged, people moved away. It was wonderful.

Both exhibits did this well. Both transported you. Others have done too. But the Forces one impressed me most because it did it without building a huge display or theater, and trusted in the power of the experience, rather than the set dressing.

Long time no post....

With internship complete and summer barreling along toward fall, I have been neglecting my blog (mostly due to the insane amount of time spent on Facebook lately). My thought was always to continue it as a place to talk about museums, education and life in general. Not that I assume that I have any sort of audience, but a girl can pretend, yes?

Reading through today's Google Alerts, I stumbled upon Stephanie Weaver's blog. Weaver is the author of "Creating Great Visitor Experiences." It's an easy read, and should be required for anyone in museums. Some of the advice is pretty standard, but then again, after 6 years as a front line manager plus time in retail and food service, I've had just about every customer service training in the book.

Weaver's blog is really nice! I plan to spend some dedicated time reading the archives, particularly the "Sunday Signpost"...er...posts. I am not a graphic designer, but in my capacity as project manager, I have become quite enamored of signs and graphic/text panels. When well done, they are amazing. When not, they are....not.

One particular post caught my eye. Weaver shares a simple dry-erase style sign from an airport, and makes the comment that it "tells [her] that they care about the customer experience." What a fascinating concept! And I mean that without sarcasm. In some museums, a handwritten sign would never be used. I can be seen as unprofessional, sloppy and careless. However, as pointed out by Seth Godin, sometimes a handmade sign can be more effective. It draws the eye by virtue of its imperfection. Humans respond to humanity - and while a gorgeous graphic layout can be wonderful, sometimes a simple sign is best.

So, what's a creative designer to do? If you aren't allowed to make a handmade sign, how do you get the point across? Here at TCM we recently used a professional sign, made to look like a Post-It note, with a scriptlike font. It gives the feel of handmade, but without actually being handmade. Does this satisfy the need for the "human element" in signs?

And what about the customer service angle? The reason a handmade sign gives good customer service is that it says, with little fanfare, that you care enough to change courses and respond immediately to them. Handmade signs are not generally a long term solution in museums, but are ideal for quick communication about exhibit programs, special events, closings, etc.

In what other ways can we use "human" created elements? Or things that appear to be handmade? How will those elements change our design? How will they change the way visitors use the exhibit?

The major downside to a virtual internship

Doing a "virtual internship" has its benefits:

• I save gas money, as I dont go further than my home office.
• I save food money, as I have no need to buy lunch out.
• If I feel like being in my sweats, I can be - my avatar is always dressed appropriately.
• No matter what time of day, there is usually someone in SL that I can interact with - thus I can accomplish lots at midnight local time.

However, days like today point out that we arent there yet - technology wise.

The grid has been down all day. Two events missed, valuable filming time lost, all waiting for the grid to come up. And, I cannot reschedule to tomorrow, because I do need at least one day off per week.

Ah well, perhaps time to catch up on the blog that I have been so behind in posting to.

Conference, Post 2

More from the Virtual Worlds conference in SL.

The second session I attended was about the Teen Grid and the Eye4You Alliance.

"Education on the Teen Grid: The View from Eye4You Alliance Island" Presented by Kelly Czarnecki (Bluewings Hayek in SL), Anthony Curtis (Stone Semyorka in SL), and Beth Kraemer (Alice Burgess in SL)

Location: Turing Hall

So what's it like to be an educator on the teen grid? Eye4You Alliance Island has been a source of education, creativity and fun on the teen grid since 2006. Librarians, professors, authors, technology specialists, subject matter specialists, and teens from around the world are involved in projects ranging from classes about SL and RL skills; recurring events like book discussions, space talks and island management meetings; special events like the recent literary festival, last year's college fair and craft fair; and a host of other activities. The presenters will provide an overview of what it's like to be an adult educator on the teen grid, describing the challenges and opportunities, and will discuss recent activities and plans that are underway. We'll compare the experience with education on the main grid and discuss our view of the future of education for teens in Second Life. The presentation may also incorporate comments from the teen residents themselves.

The team started with a wonderful video showing the amazing things that teens were doing on the Alliance Island. Please click the link to watch it. As someone who has worked with teens for many years, it was so wonderful to see them in their element!

Alice Burgess, BlueWings Hayek and Stone Semyorka all spoke about how they got involved with Eye4You and why. I of course asked my Chris Hansen question - "How can you be sure that the kids are all kids, if there isnt a credit/age check?" The answer - you cannot. But, that's part of life, isnt it? As an employee at a Children's Museum, we tend to be overly cautious. But, as Alice said "The MG is full of inappropriate stuff, like the web, television, and world in general are all full of inappropriate stuff. Even speaking as a parent of teens, I’d like to see educators help teens navigate that richer world rather than maintain the relative isolation of the current arrangement." Amen! I left this session with a note to BlueWings that I would love to volunteer come summer, when school is less intense.

Next session had to be my favorite.

· "Immersion Environments and Recreational Learning: Opportunities for Informal Education on the Virtual Landscape" Presented by Aldo Stern and JJ Drinkwater

Location: Muriel Cooper Coliseum

When the residents of an online three-dimensional platform such as Second life are able to create their own immersion environments, learning opportunities abound. Experience with a number of recent experiments has indicated that the educational potential of these builds comes not just within the context of a formal, institutionally-managed didactic approach, but also--and in some cases, more successfully--in the context of informal, self-directed learning opportunities.

Panelists Aldo Stern and JJ Drinkwater draw upon their real world backgrounds in the museum and library fields, along with their extensive experience in a variety of experimental collaborative educational, cultural and recreational environments created on the SL platform, to discuss the relative success of traditional "classroom" approaches in various builds, and the surprisingly vibrant informal learning dynamic that has developed alongside--or as an alternative to--the attempts at structured, hierarchical didacticism.

The panelists also will seek to explore how what has transpired in-world is analogous to the real world living history/reenacting "hobby" movement of the 1970s-1990s and other recreational self-directed learning opportunities, and consider issues of how institutions and organizations might utilize the potential of online creative platforms in the future to more effectively foster and encourage self-directed learning, and to integrate it into their programming in ways that it could compliment and enhance more traditional approaches to engaging and educating diverse audiences.

Whew! With a synopsis like that, who needs a report? However, what an amazing session! JJ and Aldo, dressed in full Caledon regalia, explained that to them, as former museum people, the virtual immersion worlds of SL were the virtual answer to living history centers. However, because of the rez function of SL, it was possible to literally pull an entire recreation out of your pocket. Imagine being a lit professor, teaching a course on Austen, and bringing your students to a ball at Pemberly. Or maybe you are a bio professor and you recreate Darwin's walking path as a meeting space for students. The possibilities are endless!

JJ and Aldo did indicate that many of the spaces designed for educational immersion didn't end up working as planned. In fact, many were planned more like current LH models - with anachronistic visitors, and interpreters in the space, as well as more didactic exhibits. But what happened was more akin to the reenactor model, or a Renn Faire. What happened was informal self-directed learning. (Why, because its FUN!)

Messages:

• Learning is inspired by and is happening in places originally intended to be recreational (see Star Wars Galaxies, Deadwood). (Because play=learning)
• Participatory play inspires more learning than a pure visitor role (see RL example at Tropenjunior)

There was then a lot of fantastic discussion about SL as a kind of salon learning environment - self directed, on the spot. Perhaps SL will inspire the next wave of bohemia? :)

Finally, as its late, I leave with this note - JJ said that he once heard that the abbreviation for Second Life, SL, actually stood for Sleep Less. I concur.

Virtual Worlds conference, post #1

Saturday, I spent the entire day at the first Libraries, Education and Museums conference in Second Life. Like conferences in real life, it was equally fascinating and exhausting. Again, my lack of gaming abilities show, if only in my computer stamina. Even for a web junkie like me, 14 hours was a bit long. That said, I felt like it was very worthwhile.

Most of my educational focus to this point has been around children and adolescents, but I found myself very inspired by the potential for SL and virtual worlds in adult free choice learning. So inspired that I am thinking of proposing another independent study for next semester - maybe even a thesis.

Breakdown of the day with notes:

Keynote Address: · OPEN KEYNOTE DISCUSSION: "Virtual Worlds: Libraries, Education, Museums, and More" Presented by Barbara Galik (Puglet Dancer in SL) and Kitty Pope (Kitty Phillip in SL)

Location: Babbage Amphitheatre

Galik and Pope, who have been active in the development of the Alliance Information Archipelago and other virtual world library projects, will discuss where we are with library service in virtual worlds and where we are going. They will discuss the the fast progress (explosion) of the project to get to the high level of collaborative development that exists today. They also will discuss what we need to do moving forward to sustain and grow library services in virtual worlds. sustain and grow

Kitty and Puglet spoke a great deal about the success of InfoIsland (slurl) in Second Life. In 2 years they have gone from one to over 40 active sims. Kitty drew attention to the newly opened Land of Lincoln sim, which recently hosted an inaugural ball for President’s Day. The sim was developed in concert with Teen SL students and a local High School. I took a moment today to visit the Land of Lincoln and was pleasantly surprised. Rather than feeling like an anachronism at a living history site, visitors are offered free outfits to help them blend in. This spirit of immersive environments in SL was addressed again at later sessions.

Kitty and Puglet explained that the huge growth in the sims has shown them that there is indeed a need for library services in SL. There is a growing acceptance of virtual library services, and some programs are already offering non-credit courses in virtual librarianship. Reference remains their core service, but programs are steadily growing. Kitty mentioned the potential shown in virtual language programs on Info Island International, allowing immersive language experience with native speakers.

Programs on Info Island seem innovative and fun – and are very popular. Recently II hosted a “Mark Twain Cussing Contest” (See post here) with informational training sessions prior. The island is also home to a mystery manor, where classic mystery stories are discussed.

Kitty made a point that I feel does get missed when speaking to stakeholders about the power of virtual environments. “Behind every avatar there is a person” and “Avatars are inquisitive and social.” Too often avatar interaction is seen as a false sort of social interaction, but being at this conference with 70 other people, all passionate about education and the possibilities of the platform, was proof enough that avatars are an extension of a real person, with real interests and passion.

Puglet brought up many of the needs that still exist. The presence of 70 avatars, plus a gorgeous sim, and slides/streaming media, created a perfect opportunity for lag. In only one session that I attended did the slides rez properly. SL needs to create the ability to facilitate large group meetings without lag and rez problems. Additionally, people need to be educated that while personal expression is nice, avatars need to dress for success in group sessions, by being simple and easy to rez. We also, as a community of educators, need to find ways to get newcomers to overcome the learning curve. We need to find new ways to help newbies learn the ropes in a less painful and plodding way.

The final piece of advice offered…Keep it fun. If your programs are fun, they will be successful. After an evening exploring the 1860’s, in full dress….I would have to agree!

Whew! What a day!

Just spent the past 14 hours at the Virtual Worlds: Libraries, Education and Museums conference in SL.

1) Thats a LONG time to stare at a computer

2) It was really quite cool, and the first conference where my feet dont hurt at the end of the day (although my backside does)

3) I will be posting a ton next week about it.

What's the Big Idea?

Museum exhibit people can be obnoxious. We have to make just about everything difficult. Nearly every day, someone comes up to me and says “I have a great idea for an exhibit!” and proceeds to tell me about an interactive they’ve dreamed up, or a topic they love. (My sister insists that an exhibit about wax would pack ‘em in.) Then I ask the dreaded question: “So, what’s the point?” I’m not trying to be mean, but trying to get across that to be an effective exhibit, it needs a why. It needs a Big Idea.

The Big Idea is a frustrating master. Without one, you cannot hope to know if your exhibit was effective. But with one, you are constantly bound by the question “does it speak to the Big Idea?” The concept has provoked many a developer ranting “but it’s fun dammit!”

So why does this matter? Well, we hope that exhibit designers and builders aren’t creating exhibits for themselves. There are these people called visitors, and the exhibit, ultimately is for them.

A good exhibit changes a visitor. The change can be in their knowledge or skills, their attitude or behavior, or their life conditions. An exhibit on the plight of the purple-horned snorkack could change my attitude toward them and my behavior (if I feel compelled to help them.) An exhibit about the history of 18^th century flatware will certainly add to my knowledge base. What will your exhibit do for the visitor?

The following is NOT a big idea: Biodiversity

That is a topic. It’s a good one, but it isn’t a big idea.

This is a big idea: Diversity of life is necessary for the survival of all living things; diversity is under threat primarily by human beings living in the environment, but things can be done and are being done to help. (Courtesy AMNH)

A big idea is a complete sentence. Ideally it should answer the Enduring Question. For this example, the Enduring Question is: “Why should we care about the diversity of life?”

An effective way of creating a successful exhibit is to work backwards. Start with the end result – not the interactive, but the experience the visitor will have – and work back to the concepts.

Stages of Backward Design:

1) Think about what you want your visitor to come away with.
2) Think about how you will know if they “get it”
3) Plan the experience to make sure they do!

So, what is your Big Idea? How can designing backwards help your exhibit to be more effective?

(Info gathered from The Children's Museum of Indianapolis, Dr. Elee Wood and the Shaping Outcomes training)

SL Internship, month one

I am now officially one month into my internship with The Tech, and I think things are going well. I am teaching building classes twice a week, and leading tours on weekends. People always say that you learn better when you teach someone else, and I think that holds true here. I continue to feel more and more comfortable with simple building, navigating, and explaining just what the heck we are doing here.

My first class was - less than great. Had 2 people show up 30 minutes late, and neither one really needed a basic class. That prompted me to add a description of just how basic - basic was. Its like, make a cube. Change its size. Change its color. Voila! Simple stuff. I dont want people to come in thinking I am going to teach them how to create buildings and steampunk engines, etc. Nope, just boxes and balls. But...look what we did with boxes and balls!

Tonight, between 4 of us, we experimented our way to a greater understanding of some of the intricacies of prim building. And this, I think, is a point in favor of SL.

Even on the most cohesive exhibit team, not everyone gets to be part of every step. The developer spends a great deal of time coming up with the ideas, while the curator combs the archives. The designer locks herself away to sketch and draw, while the production team asks you to stay out of their hair while they build. Its necessary to have specific skills on the team, and you cannot expect every team member to be able to contribute to every step along the way.

Imagine a team building an exhibit - they all go into a room that is filled with every substance imaginable. They can all build, as very few skills are required. They take time to experiment with wild ideas. They play. Imagine what kind of exhibit could come from that? I dont see SL as an analogue of the RL design process, but rather as a tool for building creativity.

In RL I am currently working on a new exhibit. Our exhibit process is very open and creative, and we spend lots of time brainstorming, refining ideas, etc. What we dont get lots of time to do is play around with the physical. I can suggest changes, but those need to go to the developer, then to the designer, then to the CAD designer, then to the production engineer and graphics designer, then back to me for approval. Whew! And what if I dont like it after all? It becomes like the classic comedy scene - move the couch over here. No maybe here. No maybe back there after all.

But in SL - I can be working away and suddenly think - Hm, would this look better with a curved surface? Or, what if it were stone? And I can change it in a flash, and change it back. No harm, no foul. And everyone on the team could have their say. And, as the budget manager in me has to say it, you havent spent a dime.

Could museums use SL as a brainstorming lab? A place where they could go to play with ideas?

Internship, week 2

So, today marks the start of week 2 in my internship. I think I am starting to get the hang of this.

Last week I mentioned that some very helpful friends taught me how to navigate better. If you want to know, here is how!

Hit Ctrl+Alt+D to open up the client and server menus. Click the "Client" menu (up top) and go down to "UI". Then click on "Double Click Auto Pilot." When that is clicked, you just need to double click the terrain in front of you, and your avatar walks there - with minimal stumbling.

I helped my first people this week! In my RL I was an interpretation manager for years, which meant lots of public interaction - but it seems that I am a bit shy about approaching avatars! I'm getting braver, and I am sure by next week I'll be down right outgoing. I've also had a chance to meet some more Tech staffers, all of whom have been very helpful!

Tonight I got some great building and scripting sites, which I plan to explore this week. More posts soon!

Virtual Museums in SL

In September, Jim Spadaccini over at Exhibit Files wrote a review of the Dresden Museum's Old Masters Picture Gallery in Second Life. His review is fantastic, and points out some important things to consider when creating a virtual museum.

The Dresden has done an admirable job of recreating a real life (thats RL) place in a virtual environment. I cannot begin to imagine how much time it must have taken.

Here is the real museum.
<------









And here is the recreation in SL --->


Beautiful. And not just the outside. The interior is just as amazing, complete with parquet work, moulded ceilings, the works. The big problem is - it takes forever to load on screen.

And, like many grand old museums, its easy to get lost. (Of course, in RL you can't just teleport out)

The idea is great - a virtual recreation of a real space, featuring recreations of the artifacts, in this case art. The chances of my visiting this museum in RL are slim, but I can hop on SL and at least see something, right?

Wrong. The images of the art are far too small to provide any sense of what the real art might be like. Add to that the time it takes to load, and the art becomes secondary. Now, for architecture buffs and those who just love beautiful buildings, the site is well worth the visit. But this is a nice example of how what works in RL doesn't always translate to SL.


Next: An update on the internship, a review of some papers from Museums and the Web, and a visit to Virtual Starry Night.

Helpful neighbors!

Wow! Big thanks to Lucid Snook and Troy McLuhan (avatars) in SL!! And some others, I am sure. They taught me the wonderful trick of navigating by mouse. I'll look up the sequence and write it down to share, but basically it gives you the ability to just double click where you want to go (on the ground) and your avatar walks there. BRILLIANT!

Also, a picture of me, relaxing at The Tech.

Day One in Second Life

When I first tell people about the Tech project in SL, reaction is mixed. From those who say "cool!" the major questions are about how they can get involved. But an equally vocal group responds negatively - "That's not a real internship" "So you just play a computer game?" and "SL seems like a waste of time."

I'm not going to lie, time is a factor, and the learning curve can be steep.

Setting up the account takes about an hour. For people like myself, who spend many hours online, this time is not a big deal. But many of my colleagues would find this frustrating at best. For better or worse, I had a Sims addiction several years ago, which actually helped my understanding of avatar creation, as well as my comfort in the virtual 3-D animated environment. For users not used to any sort of gaming, I would recommend spending time playing "in world" to acclimate to the environment.

Finding a place to explore is not always easy, and I hope to include some good starting points in my next post. The Tech Museum is a great place to start, as it not only offers fun things to look at, but the "physical" environment is varied enough to allow you to try out a few things.

Walking: I have yet to learn of any way of walking other than using the arrow keys. Anyone who meets me "in world" would likely think that my avatar had been hitting a few SL pubs. I walk into walls, get lost in corners, and, famously, run up the down-escalator. I'm a mess. Part of me wants to blame it on my lack of video game experience, but I think some of it comes from my lack of spatial-thinking ability. That said, with practice, I am improving. Soon (I hope) I'll feel comfortable enough to weave my way around the museum like a pro. Then I can start leading tours.

Sitting: The Tech offers a few options for sitting.
* Sitting at an interactive: There is currently a lovely interactive exhibit on perspective drawing. As you approach the interactive, floating text above the seats tell you to "sit here." Sitting can be accomplished by right clicking the seat and selecting "sit" from the menu that pops up. Suddenly your perspective changes and you can interact in a fairly real way. A button at the bottom of the screen allows you to stand when you are done. (To my amusement, standing up results in your avatar leaping into the air from a seated position. Avatars, it would seem, are far more energetic than their RL counterparts.)
* Relaxing: No, your avatar does not need to relax. However, last night I found myself needing to step away for a short dinner break. Rather than completely leave SL, I headed up to the terrace, sat my avatar down, and set my status to "away." It is possible to merely stand there while away, but given that other avatars see you - it seems creepy to just be looming there, unresponsive.

Teleporting: There are some areas that SL far exceeds RL. Many people like flying (I'll get to that) but I love teleporting. The Tech is set up with large wall maps, like you would see in any museum, but these maps give you the option of teleporting to any area with the click of a mouse. Very handy when traveling with a group. Also handy when, like myself, you are lousy at walking. Now if only someone can develop this in RL, I could avoid my commute.

Flying: The "thing" that people talk about with SL is flying. Yes, your avatar can fly. Its not just a fun trick. Its actually quite helpful for navigating a new space, or getting the lay of the land. You can only fly outdoors, so in areas like the Tech, its not as useful. But for places like the International Spaceflight Museum (slurl) it is quite handy. Also useful for just exploring. Not as tricky as walking, oddly enough.


I spent the majority of the night really exploring the building and also spent time in the Sandbox Dome building and playing with scripting. Linden Scripting Language (the official scripting of SL) is actually easier than most scripting languages. However, it pays to have at least minimal exposure to another scripting language. My experience is with HTML, but it's limited. However, even a slight familiarity with another language can help you understand the "grammar" of LSL.

That's all for now. More updates soon!

Quote of the day

Michael Scott: You don't go to the science museum and get handed a pamphlet on electricity. You go to the science museum, and you put your hand on a metal ball, and your hair sticks up straight...and you know science.

(The Office, Episode 3.19 "Safety Training")

Welcome!

Welcome to Keepers of Stuff, my blog about my museum life. This blog will serve two functions:

1) Primarily, it will serve as a record of my journey through an internship for the spring semester. I am thrilled to be working with Nina from Museum2.0 on what looks to be a very cool and cutting edge project. I have been reading Nina's blog since it started, having met her briefly at a NAME event at AAM Boston several years ago. She's brilliant, so if you aren't reading her blog, go start now! The internship is with The Tech Museum of Innovation, in California. What is particularly cool is that I am in Indiana and will be doing this internship virtually. The Tech has started a fascinating project in Second Life and I will be spending the next semester looking at the question: How can museums use Second Life to enhance their current work? I truly do not believe that virtual museums can ever replace or come close to comparing to a "real life" museum, but I do think that there are things that can be accomplished in virtual environs like SL that can enhance the experience and create more invested audiences.

2) This blog will also function as a place for me to post about my thoughts on museums in general - things in the news, at conferences, from class, or just from discussions with peers. I love museums, and love talking about them, so this will be a great place to do that.

3) Finally, and this will be a small part, this will be a place to talk about the reality of museums - good, bad and ugly. I work in a huge and busy museum, and see lots of all three, so prepare yourself for some good stories every so often.

So, that's me. I'll start posting in earnest soon. If you want to reach me, you can find me in SL as Sera Wrigglesworth (isn't that a great name!) or leave me a message here.

Ta!