October 26, 2007
Are you familiar with this course offered through IMLS? Several SI staff had the opportunity to participate in a training session about this approach yesterday, and it was a real eye-opener. Here’s an example -
In a typical project, you get an idea. You plan the program, budgeting resources and costs, and argue successfully for modest funding. You offer the services and monitor the results.
Using Outcomes Based Planning and Evaluation, planning of the program includes defining what success will look like for the specific target audience, and how you will evaluate that outcome based on measurable indicators. It makes you realize the difference between outputs and outcomes, outcomes being so much richer in terms of demonstrating long-term impact on your audience. And that’s the key – the goals are centered on the end user, the specific target audience, be they African Americans in Chicago, 8th graders on a tour to DC, or 20-somethings with stereotypes on Asians (all actual Smithsonian examples which came up.)
Much of this content may sound like common sense, or like every strategic planning book you’ve ever read. Many of the methodologies are the same. But I would recommend this approach nonetheless… the online course is free, and is peppered with really wonderful case studies.
Especially interesting to me was to see how often the goals I identified were institutional goals, rather than audience goals - the opposite of the Shaping Outcomes objective. Whether the audience I defined were Affiliate organizations themselves, or the audiences they serve, our goals at Affiliations are the same – that they can access, appreciate, and be transformed by the Smithsonian, the national museum that they support through their tax dollars. When that happens, it’s as good for us as it hopefully is for the audience. Maybe that’s not so bad?!
October 25, 2007
A nugget to add to the “who knew?!” category…
We recently got an announcement that Smithsonian’s Global Sound, a program of the Center for Folklife and Cultural Heritage, had launched a new section on the iTunes store in the iTunes U section called ‘Beyond Campus.’ One of only 6 organizations featured in this new project (with MoMA, American Public Media and others), this site gives free access to lesson plans, education kits, and videos that utilize and relate to Global Sound recordings for sale on SI websites and in the iTunes store.
It’s fabulous. For example, I watched a three-minute video of the 2007 Teacher of the Year talk about how she used Global Sound to introduce her students to the music of Zimbabwe, and to explain the different classifications of instruments. I watched a short video of Iraqi virtuoso Rahim Alhaj record a song on the oud. (I didn’t know what an oud was either! the ” (ōōd) ” is a pear-shaped, stringed instrument similar to a lute used in traditional Middle Eastern music. See picture above.) I downloaded the Center’s fantastic Oral History Interviewing Guide. You can search the site by instrument, culture, country, genre.. you name it.
How can Affiliates use this? Why not consider SI Global Sound next time you’d like to add a soundtrack to your African art exhibit? Do you have musical instruments in your collection, and need ideas for fresh ways to interpret them to your audiences? Chances are, Global Sound has a lesson plan or a video of someone playing the instrument, that you can share with your visitors.
So for fun while surfing around iTunes, I searched for ‘Smithsonian’ to see what else they might have. Need a new podcast to listen to on your way to work by chance?!
The Institution’s podcasts are collected here. Some are familiar – the Hirshhorn and the Freer/Sackler presented theirs at an Affiliations Conference a few years ago. But have you heard Cheetah Chat from the National Zoo? Interested in hearing about what Smithsonian scientists are researching these days? The Undersecretary of Science has a podcast to share our findings. NMAI is producing fabulous podcasts that are audio or video recordings of their concerts, public art projects, or particular objects in their exhibitions (like a Tlingit elder describing the craftsmanship and story behind a Brown Bear Clan Hat from Alaska).
The depths of content and possible applications to plumb here are very deep… have fun!
October 12, 2007
Funny you should ask! The Smithsonian Libraries have one of the most outstanding collections of trade literature in the United States. Affiliations staff were honored recently to get an up-close, personal view of some samples that were presented by three of the collection’s experts.
What is it? Trade literature is mass produced by manufacturers to promote and explain their products to wholesalers and retailers. The Smithsonian’s collection numbers at least 400,000 pieces (it’s still being catalogued!), with the bulk of the collection dating from 1880-1950. Because this genre of books, pamphlets, brochures, et al, were meant to be discarded (some manufacturers even encouraged an annual purge), the ephemera is quite rare.
And beautiful. And surprising. And revelatory. The Smithsonian’s seed catalogs feature wildly colorful botanical illustrations. Some appliance catalogs from the 1950s explain “what women really want,” an illustrative glimpse into social mores of the period. Floor and wallcovering sample books reveal startlingly modern designs linking them to Art Deco and Bauhaus sensibilities. World War II era catalogs exemplify how American manufacturers contributed to the war mobilization effort. Catalogs of turn-of-the-century fountains harken back to Renaissance drawings in their precision.
Why do we collect this? Mostly because Smithsonian curators use these to decipher the uses, specifications, and contexts (social/political/economic, among others) of the artifacts in our collection. It comes in handy for other folks as well; for example, the National Park Service regularly consults our collection when restoring its historic structures. Lawyers use it frequently for patent cases.
How can Affiliates use these? In many ways as it turns out!
1) Research. Do you have a 19th century carriage, and want to know more about it? It’s likely we have the manual that accompanied its distribution. Same with cameras, automobiles, sewing machines, silos, bicycles, wagons, scientific equipment, on and on and on!
2) Images. The wonderful Libraries staff can scan images and send you a high resolution .tif file. With the proper paperwork, these could serve as graphics in your exhibition or in interpretative & education materials.
3) Loans. Although rare and fragile, some of the specimens can travel and be exhibited.
I encourage you to explore this fascinating collection further, and as always, never hesitate to ask us questions about it!
October 4, 2007
Do you currently use these sites?
Are you blogging or podcasting from your site? If so, you’re navigating Web 2.0.
An array of Smithsonian webmasters led a fascinating discussion today on the challenges and implications of Web 2.0, which, according to wikipedia (appropriately enough) refers to the newest generation of the web that faciliates greater user interaction in the creation and sharing of content. Here’s some highlights from the discussion:
Who’s the authority? The great fear of many museums – if users are commenting and manipulating our content (collections, images, etc.), how will the public know what’s true? SI webmasters seemed to be unified in their response to this topic – essentially, who cares? Michael Edson of the Smithsonian’s American Art Museum pointed to the New York Times, in that their site posts letters to the editor right next to articles and editorials. The American History Museum’s Matt MacArthur highlighted their collection pages, which invite visitors to comment on featured artifacts. It becomes fairly obvious which voice you’re reading – the Museum’s or its visitors. Plus, let’s give our visitors the benefit of the doubt in terms of critical thinking!
How will what we do on the web affect our brand? What’s the differences between our virtual presence, and our bricks & mortar experience? Guess what? For younger consumers (say, roughly under 50), there is no difference. Brand perception is exactly the same whether they are in your building or on your website – they expect both experiences to be great, and identical.
Super serve your niche. When asked how to reach people who aren’t accessing your site, the answer was to focus on your core community first. If your visitors aren’t finding high res images, or lesson plans, or your hours, easily, fix it. A point that was made consistently was the viral nature of Web 2.0 – the better you are, the more your core, devoted visitors will “tag” you, will blog about you on their own sites, will add you to del.icio.us (look it up!). Your popularity will grow organically.
Look for yourself! This is a fun exercise – see (and make sure you know) what people are already saying about you. You’d be surprised. Tim Grove, an educator at NASM, shared his experience in finding a video on YouTube about a teen’s boring visit to the Museum! (there are much better videos about them there too, don’t worry.) Wonderful pictures from the 2007 Folklife Festival were posted on flickr, some with the guidance of the Smithsonian’s Photography Initiative. Try looking up “smithsonian affiliate” on any of these sites and you’ll find some great stuff we didn’t even know existed!
Want to know more? AAM is all over this, and so are lots of museums. Check out AAM’s blog, Museum 2.0. The current issue of Museum News has an article on museums in Second Life, and plenty of articles on the topic. The Brooklyn Museum gives a good glimpse into some cutting-edge applications (i.e., their visitor video competition on YouTube). I would also highly recommend Stephen Johnson’s Emergence: The Connected Lives of Ants, Brains, Cities and Software which, among other things, conceptually links the characteristics of Web 2.0 with those of slime molds!
And speaking of user-generated content, what do you think?!