Museums and interactive gaming

QR tags facilitate location-based gaming

Smart phone applications such as FourSquare and Gowalla—popular among the hip, wired, highly-socially networked crowd—encourage users to check in via their mobile devices by posting their locations and activities to a web site. The more users post, the more points or badges they win. While these web sites are games in the most basic sense, new software is allowing game designers to build on location-based game concepts to create more in-depth and complicated experiences. Location-based gaming is emerging as the latest interactive trend to be powered by mobile technology. Rather than only encouraging users to check in from anywhere, interactive location-based experiences link information, instructions, or an activity to a specific site to create a game. The user receives information instead of or in addition to sending it. QR tags are the current technology that allows users to access the critical information.

What are QR tags?

A QR tag, short for Quick Response, is a matrix or two dimensional bar code. Rather than the traditional collection of vertical, black lines, QRs are composed of small black squares on a white background. The design allows for a much higher amount of data storage than a traditional barcode, and it can be placed in any orientation. A Microsoft tag uses colored triangles to accomplish the same objective. In order to read a QR tag, the user downloads a reader program to his or her web-enabled, mobile phone. When s/he snaps a picture of the tag, the reader automatically links to the web to reveal text, see an image, play an MP3, or open a web page. Designers compare the experience to opening a physical world hyperlink.

QR code was invented by Denso-Wave, a Japanese company, which still sets the standards. Several companies offer QR generators and readers on their web sites. Designers can easily generate tags, and many free readers are available to the public for download. I-Phone, Android, and Nokia's Symbian operating systems offer the best platforms for QR tag readers. QR readers are available for a limited number of Windows enabled phones and Blackberry, and developers are frank in saying that developing for Blackberry is a low priority. 

(Microsoft tag for www.Re-LivingHistory.com)

QR tags and location-based gaming in the real (museum) world today

While Microsoft’s code is gaining in corporate popularity for magazine and on-product placement, SCVNGR is the largest software developer to make QR code-based games work in a real world environment. The company, venture-capital funded by Google, develops games for cities, conferences, universities, museums, and others. SCVNGR developed GoSmithsonian Trek for the Smithsonian Institution. (Active until July 24, 2010.) Googling “SCVNGR museum” will bring up a list of museums currently offering SCVNGR experiences including the MFA Boston, Franklin Institute, and Science Museum of Virginia. SCVNGR markets itself to museum clients with a promise of delivering information about how visitors use the mobile web, how long they spend in one location, and the paths that they travel through an exhibition. These geo-analytics are available to purchasers of  the full software development tool kit. SCVNGR has announced that it will offer its software tools for free, without the analytics components, to small businesses and individuals to develop more real world games. The readers are already free to users, but the drawback to SCVNGR is that it is not available on Blackberry, only I-Phone and Android. Other companies will surely enter the market soon, and museum clients may find themselves with more vendor choices. In the meantime, museums can make their own location-based games by generating QR tags using free software from Zxing, i-nigma, or BeeTagg, and linking them to special sections of their web sites. (FYI: this requires a working knowledge of IT.)

Today’s challenges in QR tag mobile gaming: a case study

On the weekend of July 24-25, 2010, the Boy Scouts of America hosted activities related to the 100th anniversary of Boy Scouting in the United States on the National Mall in Washington, DC. All, even non-scouts, were invited to participate in Adventure Base 100 ScoutQuest. Participants picked up a map from a central location and received web addresses for three QR readers to download to their phones. Twelve primary QR tag posters were hidden in locations on and off the mall. Each tag revealed a secret word. Those who collected all of the words could upload them onto a web site  to enter a contest. The potential audience for the activity numbered in the tens of thousands. Ironically, the most limiting factor of the Scout Quest QR code scavenger hunt was that one did not actually need a QR reader enabled device to participate. The Scouts planned to provide phones at each location, though several stations did not have functioning phones. In those situations the volunteers simply gave participants the secret word. The BSA’s caution was validated by Smithsonian technology experts who spoke at a mobile learning summit only a few weeks before. SI technology experts explained that it is their practice, when a program absolutely requires a piece of technology, to provide the equipment. This ensures that the technology will work consistently for all participants. To emphasize their point, the mobile technology summit participants used Smithsonian-provided mobile phones. The Boy Scouts of America arguably represents the most mainstream audience in the United States, and the event designers seemed acutely aware that many would not have access to the necessary technology. Their solution was to design a technological experience that eliminated the need for technology.

Concluding thoughts
In designing location-specific experiences for museums that link to web content, designers have many factors for which to account. The simplest museum application is to add a real world hot link to a location where additional information may be desirable but is not required. For example, QR codes could be added to a label to give visitors an opportunity to click to learn more. However, the museum must assess the value of the learning experience against the costs of implementation. The IT infrastructure must allow for wifi access. The museum’s web site must be optimized for the content. The program must be communicated to visitors upon arrival, and guest services staff should be knowledgeable in how to download and use the technology. Museums must be prepared for visitors who do not have the equipment to participate. Finally, the experience itself must be worthy of the visitor’s time, attention, and data plan. Like all new technologies, interactive gaming has its challenges; however, it has an awesome potential as an interactive learning tool, and museums should seize the opportunity to lead the way.

Museums and mobile media

Mobile Learning Institute
On Friday, July 16, 2010 the Smithsonian, in conjunction with the Pearson Foundation, Nokia, and the Mobile Learning Institute, sponsored "The Leadership Summit on Digital Media" at the Hirshhorn Museum and Sculpture Garden. The main topic of conversation was the present and future use of mobile phones in learning. Stephanie Norby, Smithsonian Center for Education and Museum Studies, opened the session by asking, "How do we create a sense of purpose to make people feel comfortable in coming back?". Each presenter answered her question with a variation on the same theme. Mobile technology is ubiquitous. Young people especially are connected to the world through their phones, and using mobile technology to learn is a natural extension of the current technology. The phone is not a tool; it is a window into the user's world.

Smithsonian Initiatives
Nancy Proctor, Head of Mobile Strategy & Initiatives for the Smithsonian, set the stage by discussing the Smithsonian's mobile strategy. Over time the Smithsonian has learned to think outside the audio tour box. The Smithsonian has determined that the phone is not the best device for delivering long form audio tour content; however, the phone's advantage is in it's encouragement of two way conversation. The Smithsonian has developed mobile web sites to work with specific exhibits and museums. The "Yves Klein: With the Void, Full Powers" exhibit currently on display at the Hirshhorn has an accompanying education program that can be downloaded for $1.99 from I-Tunes. The goal, as explained by Proctor, is to serve both on-site and off-site visitors. The decision to work with the developer Toura was based on the tool being free to developers and its ability to make the applications available on other platforms and sellers. The Smithsonian  has also found mobile technology useful for guiding on-site visitors. The National Air and Space Museum has a mobile web site for on-site visitors. The site, at http://airandspace.mobi/, directs visitors to amenities, bathrooms, and exhibits. The Smithsonian recognizes that visitors carry mobile technology and that programming for it makes the museum more accessible. Proctor ended her discussion with a question presaging the next phase of mobile learning, "How can we best deploy games for learning?"

School Strategies
Christopher Lehmann, Principal, Science Leadership Academy of Philadelphia stated the case for integrating mobile technology into all aspects of learning. He repeatedly pointed out that today's students are attached to their phones and use them to organize and make sense of all aspects of their life . . . except for formal education. He offered several examples of how students utilize mobile technology in his school and encouraged the museum attendees to develop mobile learning platforms that take advantage of students' natural tendencies towards this tool.

New Applications in Mobile
The next phase is mobile gaming, argued by David Gagnon, Games, Learning and Society Mobile Learning Team, University of Wisconsin, Madison. Gagnon's group has developed an open tool for the Mac operating system called ARIS that will be offered as a tool to "educators who want to use place based / inquiry / narrative / gaming activities in their curriculum." ARIS, which is currently in alpha testing, has three interactive capabilities. The platform allows users to meet people via streaming video, read stationary plaques, and carry movable objects from place to place. Gagnon likened the resulting media products to a new kind of interactive documentary, allowing people to become a part of the story by engaging in the real places. Gagnon's application is similar to SCVGNR, which has already debuted a mobile challenge tool.

Conclusions
Each of the speakers offered a personal perspective on the current and future state of mobile technology. Each of them pointed out the unique technological challenges in developing and implementing mobile applications, which will be shared in a future post. All agreed that, in spite of the challenges, mobile technology is both an important and fast growing segment of the digital world and that museums are a natural venue for implementing mobile learning. The summit offered a peek into the future, and it will be up to museum staff to create unique and interesting content for mobile applications to engage visitors in mission-based learning.

Related information: 
See Hamlet's Blackberry: To Surf or Not to Surf, a  new book by William Powers discussing balancing connectedness.

Museums and social networking

Social Media
Social Media Magic, a social media marketing firm, held a free webinar today on establishing and managing a social media presence. It was a fascinating 90 minutes that ably demonstrated the need for organizations to develop strategies for managing and leveraging their on-line presences. Moderator John Souza, co-founder of Social Media Magic, made several good points about creating an on-line presence that, if properly adapted, could easily be applied to a non-profit or museum setting. He noted that a social media strategy was different from an overall media/PR strategy and managing a web site. Social media is a new form of digital connectedness and the old rules do not apply. Souza repeatedly emphasized the importance of managing you and your organization's social media presence and discussed the strategic challenges involved in the same.

On-line Strategies
The webinar laid out a five step process for building and maintaining a social media presence.

1. Develop a social media strategy based on selective targeting of your prospective audience. Social media outreach is not designed to help connect you to the world, rather it should identify specific audiences with highly focused messages. 
2. Establish a presence on the main social media sites: Facebook, Twitter, LinkedIn, Biznik, FastPitch, Plaxo, MerchantCircle, and QAlias. Each site serves a specific purpose and reaches a different segment of your audience. Tailor your message to the unique needs of the sites' users, and be careful to follow the rules of engagement each site lays out.
3. Continually work to expand your reach to find and connect with target audiences. Establishing a profile is not enough. Use the sites' capabilities to make new connections.
4. Nurture relationships. Reach out to the community and be helpful. Enter the conversation in a way that adds value.
5. Maintain an active presence. Communicate consistently every day, and develop a strategy to maintain your consistency. The more successful you are at building a social media presence, the more time that it will take to maintain it. Create a plan for how you will adapt to the exponentially increasing amount of time it will take to maintain and grow your presence. 

Application to Museums
Museums, unlike for-profit businesses, exist to serve mission while encouraging physical visits. As with all museum programming, the social media strategy needs to be measurable. Either the strategy will result in increased on-site visitation or it will support the mission in a meaningful way. Because museums' main focus is not the sale of products or services, it is difficult to interpret social media outreach success via a balance sheet. You are asking that target audience to take action in a way that validates your mission, and the action has to be more meaningful than visiting your web site. The critical components that museums must include in their strategies are micro-targeting audiences and actively soliciting feedback.

Museums identify large problems and develop methods to solve them. They inspire, educate, and call to action. In developing social media audiences, they keep their mission at the forefront. Mission is critical to identifying the micro audiences they want to reach.

Example
A nature center may set a goal to eradicate "nature deficit disorder" (as defined by Richard Louv). Step one would be to identify those with the same concerns. These could be science teachers, other nature centers, parents, hikers, campers, or even sporting goods companies. The more they expand their search, the more people they will find with the same concerns. Step two is to initiate a call to action. Once the affinity group has formed, the nature center has to deliver a measurable challenge. The nature center could ask people to take local actions, such as: visit nature with a child; organize local clean ups; do bird counts; or take part in school programs. The important component is that each person reports back to the nature center his/her actions and their results. The nature center must be able to demonstrate that its actions initiated a positive change in order to prove to its Board and funders that its strategy is successful. Driving web traffic or boasting a large group of "friends" is not enough.

Conclusion
In the overwhelming world of social media, museums face a special challenge to identify audiences and build affinity. However, once social circles are established, they are fortunate that they are not selling products, rather missions. In a social setting people respond to mission as the idea that is greater than themselves. Museums have the ability to inspire. A strong and well-thought-out social media strategy has the potential to advance an institution's mission more widely than would have been possible with only a brick and mortar location and mind set.

Museums and families

I was signing up to attend a childrens' concert at the library when I was brought up short by the age restrictions. The library divides programs into "kids" (6 to 12) and "preschool" (2 to 5). What does one do when she has children that fall into both age groups? According to the library, you find another activity.

That attitude struck me as uninclusive, mostly because I was on the losing end of the policy. While separating ages works well for the program presenters, how well does it serve the audience? There are two arguments:

1. The Library says: "Our performers and presenters prepare programs for specific age groups so that kids don't get bored or confused by material that is too young or old for them. Some programs are "kids only" because if adults attended, fewer children could come (all people in the room count toward room capacity)."
2. The Parent says: "Family learning is important and occurs only when the entire family can participate equally. Schools provide age-separated learning. Informal learning environments should engage the entire family to meet needs not met in other venues. Intergenerational learning is a unique experience and should be encouraged." 

I wondered how museums handle the same situation and asked a group of educators for their opinions. I also posed the same question to a group of parents.  I am compiling their responses. Check back soon.