AC Museum by Shari de Cortie

M U S EU M EXPERIEN CE GROUP 4

INTRODUCTION

INDEX

This advisory report is about MuseumTV and was written during the Advanced Course Museum of Fontys ACI. The purpose of this report is to give an advice about how MuseumTV can enrich a museum experience for families: how can they create a meaningful museum experience by being active in the pre-, direct-, and post exposure? A few questions that become clear and that we want to answer through the report are: “How can a children’s mentality change towards museums?”, “How can museums turn into a fun experience?” and “What is important for parents and why do they take their children to museums?”.

Meet the team Page 4

This advisory report is divided into three phases: the analysis, the strategic advice and the operational advice. The first phase is going to provide a clear view of the target group, MuseumTV’s characteristics and its surroundings, in order to make the strategic advice a great fit between MuseumTV and the target group and also look for the available opportunities.

PART 2: STRATEGIC ADVICE Target group Page 18 Empathy map Page 19

The next phase is the strategic advice, which is based on the outcomes of the analysis. The focus of the phase is the concept and all its details, including the big idea, the renewed museum experience and the visitor goals. What concept will attract the target group to use MuseumTV to enrich their museum experience? The last phase is the operational advice and its includes budget, planning and the customer journey. It’s focused in the execution of the concept. How and when will this new concept be launched? What are the costs? Keep reading to discover all this answers.

What is MuseumTV Page 5 Debriefing MuseumTV Page 6 Description meaningful museum experience PART 1: THE ANALYSIS Analysis of MuseumTV internal Analysis of MuseumTV external

Page 7 Page 12 Page 13

Touchpoints Page 22

Current meaning museum and society

Page 23

PART 3: OPERATIONAL ADVICE The matrix board Page 26 Our concept Page 28 The experience Page 29

Anatomy of a museum visit

Page 34

Operational advice Page 35 Visitor walkthrough Page 36 Budget Page 37 Planning Page 40 Infographic Page 41 Sources Page 42 PART 4: INDIVIDUAL ESSAYS Ana Schilling Page 46 Fleur Gerritsen Page 50

Shari de Cortie Page 52 Mirre van Tankeren Page 56 Danielle Ranzijn Page 58

meet the team NAME: ANA SCHILLING STUDENT NUMBER: 3145794 IEMES: Exchange FAVORITE MUSEUM: LE CENTRE POMPIDOU

NAME: Fleur Gerritsen STUDENT NUMBER: 2391457 IEMES: CO FAVORITE MUSEUM: Stedelijk museum Amsterdam

name: Shari de Cortie student number: 2363860 iemes: CO favorite museum: NEMO amsterdam

What is MuseumTV? MuseumTV is a video on demand platform, focused on museums and exhibitions. On the platform, you can view videos of different museums and exhibitions for €2,- a month. The platform can be used as an orientation on an exhibition you might want to visit or as a reference once you have visited an exhibition. The videos are online accessible before, during and after you have visited an exhibition. The movies will be produced in collaboration with MuseumTV and the collaborating museum itself. This way, they have access to professional material to use for marketing and communication as well. The target group of MuseumTV is a very wide range. MuseumTV focuses on education on schools, busy families, seniors, millenials (15 t/m 25 years old) and art lovers not only from the Netherlands, but from all of the world. MuseumTV can be very helpful for people who like to dive deeper into the artworks they’ve seen, but also for people who are unable to physically go to the museum. People with kids who don’t have too much time to go to a museum have the option to see what the museum has to offer before going there. For art lovers who would like to broaden their knowledge, MuseumTV is an ideal platform.

name: Mirre van Tankeren student number: 2205967 iemes: CO favorite museum: Kunsthal Rotterdam

name: Danielle Ranzijn student number: 2205829 iemes: CE favorite museum: 9/11 Museum 4

debriefing Speaker: Marieke van der Donk Company: MuseumTV

WHAT IS MUSEUMTV? MuseumTV is a new way of experience exhibitions. Mostly it’s about gaining knowledge before you go to the museum, but also if you want to get more into the information about art and culture. 23 museums are supported on the platform and MuseumTV makes the videos themself. You can become a member for free. Right now you can watch content for free but in the future the subscription fee will be €2 per month.

CHALLENGES FOR MUSEUMS IN GENERAL - Collaborations with other museums - Getting new target groups involved - Collections and digital developments such as VR - New ways of getting money - Increase international range - Innovation of the museum sector - Partnerships The video on demand market is growing in Europe. Museums are trying to experiment with it but until now this is only fragmentised. There is no such things as a business model yet.

Description meaningful museum experience

public so everyone should have access to enter the museum. It shows the intangible heritage of humanity which means that people living now or in the future still can have a look of how people and their environment in the past lived. The purpose of a museum is to get knowledge but also find some joy out of it.

WHAT IS A MEANINGFUL EXPERIENCE

Visitors have three basic basic expectations when they Because our group assignment is ‘How can Muse- go visit a museum. The first of them is participation, umTV meaningfully enrich the museum experience the second one is psychological needs of the museum in the pre-, direct- and post exposure for the current visitors and the last one is the outcomes. target group families.’ we have to make sure what a THE ANATOMY OF A MUSEUM VISIT MODEL meaningful museum experience is. Interactions are on intellectual, social and physical level. The needs are on curiosity, confidence, challenge, WHAT IS A MUSEUM First we have to make sure to first know what a muse- control, play and communication level. And the outum is. According to Philippe de Montebello, the for- comes we can subdivide in knowledge, attitudes and mer director of New York’s Metropolitan Museum of skills. If all of these levels have to be addressed if you Art, a museum is the memory of mankind. But if we want to have a successful museum experience. search for the longer definition, according to ICOM Statutes, a museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment (ICOM Museum, 2016).

This means that it a museum is on a certain, permanent place and it doesn’t move around. It’s open to the

VISION AND MISSION WHAT CAN YOU FIND ON THE WEBSITE?

Mission MuseumTV: Making art available online for everyone

What you can find on the websites are previews for gaining knowledge before. Pictures are shared and Vision MuseumTV: With new ways, such as Video On you can find information about the exhibitions and Demand, 360, VR and online experiences so new conthey zoom in at one certain piece of art. sumers and a new target group will be reached.

WHY WOULD MUSEUMS PARTICIPATE? Museums can share information about the museum and the exhibitions. There is also a webshop on the MuseumTV website where you can buy tickets for the participating museums.

TARGET GROUP The target group of MuseumTV is a very wide range. Such as education on schools, busy families, seniors, millenials (15 t/m 25 years old) and art lovers not only from the Netherlands, but from all of the world.

ADVERTISEMENT 6

MuseumTV advertises on social media, television, radio and uses SEO.

THE ANATOMY OF A MUSEUM VISIT MODEL

PRE EXPORE, DIRECT EXPOSURE AND POST EXPOSURE The pre exposure is the phase that precedes the event or visit. This pre exposure phase is where you orientate and where you gets information about the visit you’re planning to have. This could be searching on social media or ask people you know about it. You’re building up some expectations about the visit. The direct exposure phase means the exposure that you get when you’re participating the event. Experience and the emotions you’re feeling are very important to keep in mind. The last phase is the post exposure. This is de phase after you did participate. The expectations you had before, did they come true? But also the way you’re treated after you participate. Is there an aftermovie where you can relive the moment? (Vendersteden, 2016).

EXPERIENCE MODEL

We also have the Experience Model. This one is not But also the social environment, an experience is banecessary for museums only, but it’s a good way to ex- sed on the people you’re visiting the museum with. If plain what a meaningfull experience actually is. you’re going alone your experience is different than if you’re a kid and you’re going with all your schoolbudFirst we have the experience which consists of the dies because of a schooltrip. But it’s also about when content and the design. The content and the values are you’re in a waiting queue, is there any animation? what the company come up with and if they match your own values the experience will be more valuable All of the above experiences are eventually making to you. it a basic, memorable or transformative perception. A basic experience didn’t make enough impact to be The psychosocial framework consists of the individu- in your memory for a whole lot of time. You’ll forget al part and the social environment part. Every visitor about it after a while. A memorable experience is an has a individual context, such as how many know- experience is on a higher level than the basic experiledge they already have about the subject. If they go to ence. If someone ask about it, you’re able to recall that a museum and they also know a lot about the subject memory. At last, we have the transforming experience of the exhibition they will experience the museum vi- and that’s what people want to go for, because it’s the sit in another way than someone that doesn’t know highest form of an experience. But that’s not easy to anything yet about the subject. Also their own values fulfill. But you can give it a try by doing the best you and motives are playing an important part in this vi- can and create a concept that’s strong on the content, sit. But also previous experiences. Did something bad design and social environment parts. happened the last time they did go to a museum, that will influence their experience they will have this time. But also if they had a really fun and good experience, they are more excited to go to another museum. 8

PART 1 THE ANALYSIS 10

Analysis of Museum TV

The SWOT analysis is standing for: Strengths, examples are: good image and knowledge/skills that are better than average. Weaknesses, examples are: bad image, knowledge/skills that are worse than average Internal analysis and high costs. Opportunities, examples are: new customers, new trends and problems by other SWOT competitors. The model gives good insights into where a compaThreats, examples are: other/new competitors, ny is doing good, bad or has an opportunity. A good the economic crisis and new products thing about the SWOT is that you can use the model (Carrieretijger, 2016). as a tool to look at the company in a different way. The idea is to analyse the elements of the SWOT systematically, so you see the possibilities for the future and can set promising targets. It is important that there is a maximum of three elements in each category. (Carrieretijger, 2016)

Analysis of Museum TV

Following these steps, a holistic experience including the five senses is very attractive nowadays too. Being able to know how the inks of that painting smells EXTERNAL analysis like, to touch something with the same texture as a elephant’s paw, to fell how cold is it in the poles. The availability of these techniques, along with consumer Museum industry, market, preferences for multi-sensory experiences, might retrends and developments set the baseline expectation for museums, from providers of primarily visual experiences, occasionally A museum is an institution that cares for a collecti- embellished with scent, sound or taste, to experts in on of artifacts and other objects of artistic, cultural, synesthesia. (Trendswatch, 2014) historical, or scientific importance and make them available for public viewing through exhibitions. As Another important part in a museum is the comfort the time goes by, the contents of an exhibition chan- of the visitor. The collection needs to be well organiges, and also does the public. With the technology zed and with responsibility, in order to create a vadevelopment and new ways of being immersed into luable experience and don’t increase oppressions. A information, the public requires a new way of interac- museum is a rememoration space, but also an alert tion and it’s crucial that the way that the collection is about some episodes that happened and can’t happen presented changes together. again. Museums might want to consider the opporThe Museums industry encompasses a wide variety of museums. Art museums and galleries represent the largest share of industry revenue (44.0%), followed by historical museums (22.0%), science and technology museums (19.7%), halls of fame (5.7%), and military museums (5.3%). (Ibisworld, 2016) It’s impossible that all of these different educational spaces change in the same way, but some trends are visible in all of them. Almost all kind of information can be found in the Internet nowadays, so what makes a museum a place valuable of a visit? The place needs to offer a complete experience, that can change the visitor point of view, enhance his/her knowledge and also be a entertainment experience. It’s not easy to accomplish all that “pre-requests” always, but that’s the goal. The following trends were the ones selected by the group as the most important ones, facing our personal experience, previous research and interests.

family.” (Trendswatch, 2016)

Since technology is a part of our daily lives, being in touch with new tools such as VR and AR in museums is desirable. We don’t want just to see things anymore: we want to touch, play, interact and get a response from everything. The proliferation of AR tech expands the world of BYOD (Bring Your Own Device) and the ways in which people can mediate their own visits . (...) ”What if visitors could see, handle, manipulate and share digital doppelgangers of real objects, or share the attentions of a docent avatar? It is why people travel to museums in the first place: to have a place-based, shared experience with their friends and

tunity (many consider it an obligation) to play a role in community dialogue: defusing, healing, rebuilding. This might take the form of the museum’s usual core activities: collecting and exhibiting artifacts and oral histories that document conflict and calls for social change. (Trendswatch, 2016)

As museums are playing an important role as educational environments, the knowledge diffusion is already under the spotlight. However, it’s not only about obligation: learning, especially in non-formal environments, needs to be fun and happy. Defining success in nonmonetary terms is particularly important for Millennials, who face higher rates of unemployment than peers with equivalent education, and even if employed have no guarantee of economic success: nearly half of college graduates in their 20s are trapped in jobs with low pay and no prospect of advancement . Fortunately it seems like Millennials have good instincts when it comes to pursuing happiness, preferring to spend their money on experiences rather than stuff, a strategy that has been shown to be more likely to produce lasting happiness. (Trendswatch, 2016) After knowing all this trends, it’s possible to situate MuseumTV in two different scenarios: being itself a meaningful experience and also being a tool for meaningful experiences of the physical spaces. As a digital platform with all museums collections, MuseumTV needs to keep updated with all this trends to enhance the visitor experience. 13

PART 2 STRATEGIC ADVICE 16

STRATEGIC ADVICE

Empathy map

Empathy map and other aspects personal context for the target group

See

Current Museum Experience

What does the customerâ&#x20AC;&#x2122;s environment look like and what does the market offer?

Target group Our target group is families. You can split this group up in two different categories, the children and the parents. Most of the families live in a city, especially a city where you can find museums. Because of this, it is easier for families to go to a museum if it is in the neighborhood.

There are

1.325.637

There are

families with children until 12 years in the Netherlands (CBS, 2016).

2,2 million

children until 12 years in the Netherlands (CBS, Aantal kinderen in Nederland daalt, 2015).

he number of children decreased in the Netherlands the

LAST 10 YEARS

(CBS, Aantal kinderen in Nederland daalt, 2015).

18.648.00

Dutch visitors in 2014 (M us eu mv er en ig in g, 2014).

Hear How is the customer influenced, and by who? The parents hear a lot via media, like social media, television, radio and newspapers. They are also influenced by other family members, friends, work environment, other parents from school and the school itself. The children are influenced by their parents, school, friends, television, internet and games.

Think and feel What goes on in the customer its mind?

The number of vis

itors

UNDER THE AGE OF 18

increased betw een 2011 and 2014 with 12% (M useumvereniging, 2014).

MUSEUMS HAD

The parents are educated most of the times and they want that their children learn something from the museums. In their environment they have other families that are happy and do a lot of things with their children. Nowadays they see marketing campaigns for museums on the internet, television, etc. Children have a very small view of their environment. It consists of school, friends, family, internet and television.

When the parents decide to go to a museum, most of the times they are going there to have a day out with the children and they find it important that their children learn something about culture or history. When children think of a museum most of the times they donâ&#x20AC;&#x2122;t like the idea of going to a museum. But there are a few museums who are doing a lot for children, then the children mostly like going to the museum. At this point children like to go and having fun in a museum, while they are learning something.

Say and do How does the customer behave in public? The parents are working, spend time with family and friends and they are spending a lot of time with their children. The children want to have fun, they are open minded and they have a lot of energy and fantasy. They spend most of their time at home with their family and at school with their classmates and friends.

PERSONA'S THE FAMILY

HI THERE! WE ARE SEAN AND LAUREN AND WE HAVE TWO BEAUTIFUL KIDS JAMES AND JULIA. Besides being beautiful, these two are also a bit rebellious. they want to experience everything.

GOALS IN LIFE

PERSONALITY PARENTS

PERSONALITY KIDS

Introvert

Extrovert

Analytic

Creative

Conservatief

Liberal

Passive

Active

Analytic Conservatief Passive

Extrovert Creative Liberal Active

To live happy with the fourth of them. we both have a good job with a more than average income. i want my kids to go to college and find something they like to do for living.

I like

HOBBY parents

SOCIAL MEDIA, have a drink with friends, spending quality time with the kids

HOBBY KIDS

soccer, having fun, coloring, going to the playground and meeting friends

to p mos lay aro t ever of all h und, ga m yth ing a ave fun es and w nd e very ith one.

PHYSICAL

Socio-cultural

touchpoint analysis of museum experience The touchpoint wheel is a visualisation of all the touchpoints that customer comes in contact with the whole experience, which means pre-, during- and post experience. The preexperience and post are mostly marketing touchpoints. The experience itself is a touchpoint.

Newsletter

MuseumTV

Advertisments Social Media

Advertisments Souvenir

Website MuseumTV

Word of mouth

Postexperience

Word of mouth

Preexperience

Museum website

Deals (online/print)

Experience

Surveys

Ticket Artpieces (Audio)guides

Mediators/staff Brochures

vies can be seen on the platform MuseumTV but can also be used as promotion material for the museum. And when the museum not uses the videos directly, Current meaning they can still benefit from the movie being watched on to museums and society MuseumTV. People might get curious about the museum and want to visit it, it generates attention for the The target group of MuseumTV is very big. From edu- museum. Maybe people subscribed to MuseumTV cation purposes and schools, busy families, seniors till did not know about the existence of the museum and millenniums and tourists. Actually, that is a very large MuseumTV brings it to their attention. range of people. So it's not very strange that MuseumTV will not mean the same to every group. So while MuseumTV is an online platform, the museums collaborating in the movies will benefit from it in There are two ways of how MuseumTV can be used by their number of visitors who are sincerely interested the society. The first one is to get a preview of the exhi- in the museum. The visitors gain interest in the mubition of the museum you are planning to visit. You go seum by either perceiving the promotion done by the to MuseumTV to watch a short clip and you can buy museum itself or because they have watched a movie tickets straight away. The second one is to take your- using MuseumTV and became curious about the muself back to the moment you were at the museum. You seum. already visited the museum but you want to enjoy it once again. It also shows loyalty to the museums. CONCLUSION Knowing what a meaningful experience is and how MuseumTV fits in, it’s easier to expand the possibilities that the platform can provide. New uses of MuseumTV can attract a different public and keep the audience captive, specially talking about families, which is our main target group. With the trends in mind, also helping to plot a clear goal, MuseumTV localizes itself in a privileged space: it can be used as an instrument to pre and post exposure. Our challenge, now, it’s to adapt our own exFor seniors MuseumTV can mean a lot. They can be a perience to what we identify as essential: turn the Mumix of both examples we talked about earlier, but they seumTV into a personalized experience that also can have an extra reason to watch MuseumTV. Seniors are be used in the during exposure. often not that flexible anymore, so it can be a heavy experience for them to actually go to the museum. With MuseumTV they can sit at home and watch it from their couch. So schools can use MuseumTV for getting a preview so the kids will know what to expect when they go to one the museums that are connected to MuseumTV. But busy families, maybe the mother has paid more attention to watching the kids than actually enjoying the art in the museum, so after the kids went to bed she can watch the exhibition again but this time quietly and on her own.

MuseumTV has a lot of impact on the way society will think about museums and it will change the way society visits a museum, because the society can do research and can enjoy it easier afterwards with MuseumTV. The biggest reason why the society will use MuseumTV is that it’s actually an easy and modern way to enjoy art. On the other hand, MuseumTV also has a big meaning for museums itself. The creation of the movies that MuseumTV makes will be totally free of costs for the museum. MuseumTV has a team creating the movies, all content is created by MuseumTV. They approach museums themselves, in order to ask the museum if they are interested in having a movie made. These mo-

PART 3 OPERATIONAL ADVICE 24

THE MATRIX BOARD

1 3 4

First, we had to draw six columns with the subjects: Debriefing, Internal Analysis, External Analysis, Target Audience, Touchpoints (physical) and Meaning (sociocultural). We did write down all our highlights that we came up with during the last couple of phases.

highlights are really on trend right now and for the future. We think fun is one of the most important things, because when kids have fun and have a good time, the parents will also have a good time and be satisfied. The meaning of this all will be to gain extra knowledge about the art in the museum.

THE MOST POWERFUL COMBINATION

The other options you’ll find on the right page.

After that, we started to match the highlights and came up with four matching rows. We did choose the most powerful combination, which is the first one. Not only because it’s the one with the most matching highlights, but also because it’s the one with the most interesting and powerful highlights on it. We matched interactive, innovative and VR. Those three 26

THE BIG IDEA

Emotional

The creation of an educational and entertainment Visitors will remember more about the visit and devespace, where visitors will be able to interact in an in- lop good memories about it afterwards, being satisfied novative way with all the museums collections availa- and fulfilling their experiences. ble and also have a fun and a complete experience, Experiential while are enriching their knowledge. Visitors will have a better visit because they’ll be completely immersed in the museum experience and will VISITOR GOALS have the possibility of gaining knowledge on different COGNITIVE subjects. Visitors will gain knowledge through an active way, instead of a passive way. Participating in the experience in a more immersive way.

On the left you can see the concept diagram that was made after we came up with our concept. This diagram answers the most important questions; Where, when, who, what and how. The most important keywords were highlighted in the bubble diagram. The keywords are: - Guide in any form - Kids zone - Story - Holistic - Interactive

The experience knowledge by visiting a museum and a guide in any form would help them do so. We put the whole thing together in a Concept Diagram and decided an overall story to guide kids and parents through the whole muPersonalised experience seum experience was very important. The story is told When finding out how to engage kids and parents in by Mike, Mike the Dinosaur. Mike is a young playful the museum experience, we've used the Matrix Board dinosaur who loves going to museums. He is open for to uncover powerful combinations. The most poweradventure and will learn kids and parents a museum ful combination that came out of the Matrix Board is is not as boring as they might think. He knows funny the one we started working with. Most important, we background stories to everything and being friends thought a museum experience has to be interactive, as with Mike will most likely turn into a big adventure. well for kids as for parents. By having an interactive experience, the kids would have fun visiting the museum. Both the parents and the kids should be gaining

OUR CONCEPT

The website will still be used as a medium for pre-exposure, but with an extra kids’ zone to it. The website will be extended with an app, providing the same video-service the website does. Kids have their own page on the website or app, especially designed for them. It is filled with little games to get to know the museum better. All of it is guided by Mike, he’ll tell funny stories or helpful ‘did-you-know’ facts. The overall goal is to be as good and as full of knowledge as Mike is. To reach this, the kids have to visit a lot of museums and help Mike on the treasure hunt he sets up for the kids at the beginning of entering the website or the app. Everything the kids do will be guided by a story around Mike. For example, Mike has lost his fancy hat the last time he visited the museum and the kids need to help him find it, by going there.

the kids get rewarded and keep on getting to know more about museums and about the things they’ve learned there. They will get rewarded in the rewarding system of the app and are able to see how much they’ve already done.

Once in the museum, the kids will be guided by Mike again. He will either appear to them physical, in the form of quizzes and activity sheets, or on the app again, through VR. Mike will provide fun facts about the museum and anything that’s inside of it. When doing tasks Mike provided, parents can join in by helping their kids or relax a bit while their kids are enjoying themselves. Each task the kids fulfil will lead to them being more of an expert in museums, like Mike is. The final task will be finding Mike’s hat to end the museum visit. The level of the questions and tasks will be depending on the kids’ profile. They are based on their age and knowledge. After the visit the games go on, they can relive their visit by playing games and applying their newly gained knowledge. They are able to send in the drawings they made according to the visit. Museums might want to receive the pictures to show to their visitors and to motivate kids to be creative. By doing things like this 28

activity sheet [ mike ] Can you find something with the color red in the museum?

[ mike ]

Can you find something with the color red in the museum?

Anatomy of a museum visit

Operational advice

To make sure our renewed museum experience is a meaningful one, weâ&#x20AC;&#x2122;re using the model of the anatomy of a museum visit. A museum visit consists of the three factors being, interactions, needs and outcomes. A lot of needs are fulfilled by visiting a museum together with Mike, he brings in the curiosity by telling kids a lot about museums they did not know of before. The game itself adds an element of playing and challenge. Your fully in control of what activity you want to do, itâ&#x20AC;&#x2122;s not like an audio tour where you have to watch every single painting because the voice is telling you to do so. By doing this, the experience will have an interactive character. Kids will get to know other kids doing the same activities or interact with their parents while answering the questions. They will learn things by involving the whole museum in their experience. Once at home the kids will most likely be more enthusiastic about museums itself. Depending on the museum they have gained skills or certain knowledge. When matching the concept with this model, we can proudly say our new experience matches a lot of the fields of the anatomy of a museum visit. When most of these fields are used in the concept, the experience will be a real holistic experience for the visitor.

experience map enriched museum tv experience

CUSTOMER JOURNEY

THE ANATOMY OF A MUSEUM VISIT MODEL

Website Museum Games museum App Talking at home 35

Visitor Walkthrough Sean and Lauren are always looking for differents ways of entertainment for themselves and their children. Last month, they’ve been to a theme park, where they had a lot of fun: the children enjoyed the environment and was a really great time that they spent together. Last weekend, however, Lauren suggested that the family could go to an art exhibition. She really appreciates the environment, since she’s a designer. The problem is that this kind of program is never a perfect fit for a familiar event: the children get easily bored and she and Sean can’t enjoy the expositions. One day, however, their children Julia, 7 years old, and James, 5 years old, arrive from school with a flyer. “Mike, the dinosaur: your new best friend!” is the main character of the platform MuseumTV. Lauren decides to enter in the website and create her profile, just to see how it works. She really enjoys the videos and activities, but she can’t access the child’s part that was being advertised on the flyer. In another situation, at a neighborhood barbecue, Lauren’s friend tells her about this new app for children, that is also educational and for entertainment. Sean decides to download the MuseumTV app in his tablet for Julia and James, creating a personal profile for them, and they started to get involved with the games, activities and stories told by Mike. One day, Julia asks her parents to go to the Rijksmuseum. Lauren, really surprised, goes further to understand this sudden interest and remembers about the app. Julia was in step 6 of the game, and the next challenge was helping Mike to find its hat through the physical collection of the museum. Lauren and Sean, then, buy the tickets through MuseumTV for next saturday and the whole family goes together. There, Julia and James see a lot of activities and challenges. From the physical activities, through sheets with Mike, drawings and treasure hunts, to the ones through the app, with AR elements in the environment, audio messages from Mike and QR codes to be scanned for further information. They spent all day discovering new things in the museum, having fun together, as a family, and learning more. In the following days, the children keep accessing the app and evolving in the game. The parents are proud of the new knowledge acquired from their kids and are also more interested in the videos of MuseumTV. They all keep accessing the app and the website, discovering more informations adapted for their individual profiles. Lauren and Sean posted in their social media about this big change in their daily lives, since the app turned out to be a big improvement in their family moments and in their cultural interests. 36

budget

Change the video’s, for this concept there need to come some extra video’s for the children. It is posOn this page you can find what the estimates for the sible to use the video’s that already exist. The video’s costs will be for our concept. These costs are based only need to change a little bit, because it needs to be on similar costs from other companies. Below you can fun for the children to watch. Mike is also going to be find the explanation about it. in the video’s. The one who is changing the video’s is working approximately 120 hours on the video’s. Visualization, for the visualization we need someone who can make the designs for the website, Change the activity sheets, a lot of museums has app, video and activity sheets. The designer is working already an activity sheet for children. We can’t change approximately 40 hours on the visualization. them in total but we want to add Mike to the sheets. This is possible with stickers. Change the website, for this concept the website need to change. The website builder performs the Making content, There is also someone needed adjustments by what he/she gets from the one who is who is making the content for the website, the app, the making the content. The website builder is working video’s and the activity sheets. This person is working approximately 12 hours on the website. approximately 160 hours on the content. Making an app, Museum TV has no app. We want to make an app for Museum TV where people can see the video’s and they can go to the kids zone on the app for playing games and for use the app in the museums.

PLANNING

video on demand platform, focused on museums and exhibitions

The new content should all be done before it can be launched at the same time. These changes can take place any time of the year, the planning will be for the time period before the launch of â&#x20AC;&#x2DC;Mike the dinosaurâ&#x20AC;&#x2122;. In week 3 and 4 there is room for feedback and make some last changes.

36%

MALE

64% FEMALE

TA R G E T GROUP families with kids

we CREATEd: an educational, innovative and entertainment concept while enriching their knowledge at the same time

Mike the Dinosaur All of it is guided by Mike, he'll tell funny stories or helpful 'did-you-know' facts. The overall goal is to be as good and as full of knowledge as Mike is. To reach this, the kids have to visit a lot of museums and help Mike on the treasure hunt he sets up for the kids at the beginning of entering the website or the app.

SOURCES 000. (2016). Gemiddelde kosten voor het laten maken van een professionele website. Opgeroepen op December 17, 2016, van 000: https://000.nl/kosten-website-laten-bouwen/ 123sticker. (2016). Stickers. Opgeroepen op December 17, 2016, van 123sticker: https://123sticker.nl/stickers/ keuzehulp/premium_easy_apply_wit/ Archives (2016). Definition. Opgeroepen op December, 2016, van Archives: http://archives.icom.museum/ definition.html Carrieretijger. (2016). SWOT-analyse. Opgeroepen op November 27, 2016, van Carrieretijger: http://www. carrieretijger.nl/functioneren/commerciele-vaardigheden/swot-analyse CBS. (2015, November 23). Aantal kinderen in Nederland daalt. Opgeroepen op December 16, 2016, van CBS: https://www.cbs.nl/nl-nl/nieuws/2015/48/aantal-kinderen-in-nederland-daalt CBS. (2016, December 29). Statline. Opgeroepen op December 16, 2016, van CBS: http://jeugdstatline.cbs.nl/ jeugdmonitor/publication/?DM=SLNL&PA=20025NED&D1=0&D2=a&D3=0&D4=0,5,10-l&HD=100519-1 127&HDR=T,G2,G3&STB=G1 Inkomen, G. (2016). Gemiddeld salaris per beroep. Opgeroepen op December 17, 2016, van gemiddeld-inkomen: http://www.gemiddeld-inkomen.nl/gemiddeld-salaris-per-beroep/ Ibisworld. Museumsin the US: Market research report. (May 2016). Retrieved on December 15, 2016, from: http://www.ibisworld.com/industry/default.aspx?indid=1640 Loo, D. v. (2016, Augustus 1). De kosten van een app laten maken? . Opgeroepen op Decemeber 17, 2016, van Appspecialisten: https://www.appspecialisten.nl/kennisbank/de-kosten-van-een-app-laten-maken-zie-watandere-apps-hebben-gekost-van-2500-tot-100000 Loonwijzer. (2016). Uurtarieven in 50 beroepen. Opgeroepen op December 17, 2016, van Loonwijzer: http://www.loonwijzer.nl/home/eigenbaaswijzer/tarief-check/uurtarieven-in-50-beroepen-zzpers-vergeleken-met-werknemers Museumvereniging. (2014). Kerngetallen 2014. Opgeroepen op December 16, 2016, van Museumvereniging: https://www.museumvereniging.nl/Portals/0/1-DeVereniging/Bestanden/MV_museumcijfers2014_LR%20 web.pdf Trendswatch. Trendswatch. (2014). Synesthesia: Multisensory experiences for a multisensory world. Retrieved on December 15, 2016, from: http://aam-us.org/docs/default-source/center-for-the-future-of-museums/2014_trendswatch_lores-with-tracking-chip.pdf?sfvrsn=0 Trendswatch. Trendswatch. (2016). Retrieved on December 15, 2016, from: http://aam-us.org/resources/center-for-the-future-of-museums/projects-and-reports/trendswatch/trendswatch2016/ Verstendenremco (2016). Opgeroepen op December, from: http://verstedenremco.wixsite.com/remco/lerenmet-een-lach

PART 4 INDIVIDUAL ESSAYS 44

Fontys ACI Museum Advanced Course Ana Beatriz Schilling Lopes Student number: 3145794

Final Essay Representation and identity in museums: the real values of our society Museums are, by definition, a building, place, or institution devoted to the acquisition, conservation, study, exhibition, and educational interpretation of objects having scientific, historical, or artistic value. (Farlex, 2003) Some questions emerge from this topic, then: who defines this value?; why is one object located as important, to the detriment of a lot of others?; what are the set of social conventions that outstand some artifacts? Acting as a rememoration space and passing through a curatorial process, the collection of a museum always reflects the beliefs of the dominant groups. The problem begins, however, when some minority groups don’t see themselves in these spaces or have an incorrect representation. This essay proposes to expatiate the trend “Capture the Flag: the struggle over representation and identity” (“Trend Report”, 2016), presented in the Trend Report 2016, and establish a parallel with the reality of historical oppressed groups. 9/11 is a date that almost everyone in the world have in mind. The day when four coordinated terrorist of al-Qaeda attacked the United States is well-known and the 9/11 Memorial & Museum (Image 1) is one of the spaces where the story is highlighted, in order to don’t be repeated, since the attacks were responsible for the death of 2996 people (“September 11 attacks”, 2016). They use a lot of interactive activities and it’s one of the world’s most recognizable museums. The mission of the museum is “to bear solemn witness to the terrorist attacks of September 11, 2001” (“The mission”, 2016). In the other hand, the National Vietnam War Museum (Image 2) is a small building in Texas, whose mission is “To promote an understanding of the Vietnam Era, while honoring those who served.” (“Current indoor exhibits,” 2004) The Vietnam war lasted for 20 years (1955-1975) and more than 3.9 million were killed (Valentine, 2014). Facing these facts, it’s clear that, since the USA are the creator of this both spaces, the approach is always in their favor. The american people that worked in the World Trade Center and were killed were mostly rich white men: the rememoration of their lives are more relevant than the lives of all the vietnamese people killed by americans in the Vietnam War, therefore. This is also clear when the only rememoration space of the Vietnam war in the USA turns its attention to the offices involved, instead of all the civils killed. As well written by the brilliant George Orwell in his book, Animal Farm, “all animals are equal, but some animals are more equal than others.” (Orwell, 2004)

The history of Brazil is another example of an unwritten story. Since the colonization process, passing through slavery and the european immigration, the country generates a multifaceted culture, with all kind of people and ways of thinking. But when the story goes through oppressed groups, there is no “value” enough to create a museum: the natives, that were stolen and decimated; the black people, that were slaves and, after that, relegated to prejudice and ignorance; the poor, whose ignorance was harnessed and that suffered all kind of abuses. Why these stories are not being told? What is being told about Brazil, if no the oppressed stories? And again, the biggest museums are about european “heroes”, the male white people that were always in focus. However, now we see a change slowly happening, with the opening of the Portuguese Language museum (Image 3) in 2005 (Quem somos, n/d) and the AfroBrasil museum (Image 4) in 2009. (Historia, n/d)

Img. 3: Portuguese language museum

Img. 4: AfroBrasil Museum

Another relevant side of this trend is that, as the time goes by, people feel a growing necessity of seeing themselves represented, and not only in the cultural aspect. With more non-binarie definitions of gender, a broad range of races identities and less repression to sexuality choices, the society is changing, and also should the museums. The rise of social media has changed the dynamics of these conversations, both accelerating change and amplifying conflict. (“Trend Report”, 2016) The museums, together with all public spaces, should adapt their conformation to people’s needs, in order to make everyone comfortable with who they are. For psychoanalysis, memory takes place the moment it emerges in consciousness and it’s never absolutely finished: there is no remembrance of the real past to be sought, since it would always be social and present. Besides that, the differences between individual representation and the cultural stereotype can be large: images are not a reflection of history, but ancillaries in the construction of nuances of the lived. Therefore, in addition to the imagistic analysis of certain social actors and past events, it is important to pay attention to those who produce, perceive, consume and receive these spaces of remembrance. With that in mind, we can think in a lot of episodes of human history where the society did something that now we considered absurd: holocaust, slavery, apartheid, all the different wars. These events produce objects, that themselves can symbolize the oppression of some groups. There is an example of that fact in the Netherlands, with the Golden Coach being in public exhibition, outstanding the colonialism heritage. “When the king and queen ride around in such a coach, it glorifies this era. (...) They might give a push in this direction, by removing the panel, ‘Homage of the Colonies,’ from the Golden Coach and putting it where it belongs, in the Rijksmuseum.” (Ryback, 2016).

Img. 1: 9/11 Museum 46

Img. 2: Vietnam War museum 47

Img. 5: The dutch Golden Coach

Img. 6: Interior of Rijksmuseum

Now the question becomes not whether to take down a flag or a statue, but where to draw boundaries . Do public monuments perpetuate oppression, or remind us of the history we need to redress? (“Trend Report”, 2016) If these objects belongs to museums nowadays, their main interest should be to redesign the history, in order to play a role in community dialogue: defusing, healing and rebuilding. It’s not about hiding the past, but having a careful contact and resignification to what once happened. With this emergent trend in mind and being concerned to propitiate a meaningful experience to all people in a society, despite their gender, sexuality, race and richness, the museums locate themselves in a delicate situation, but with good prospections. Creating educational spaces capable to remember all episodes of history from all point of views can generate a conscious and interested population. Seeing ourselves represented in such an elitist space like museums changes the perspective of what really matters in our society. Besides that, through the addition of meaning to the “value” given to each artifact presented is essential to define who we are as a society, bus also as individuals: people will always experience things in the context of their own identity and concerns. Bibliography Current indoor exhibits. (2004). Retrieved December 28, 2016, from The National Vietnam War Museum, http://www.nationalvnwarmuseum.org/the-museum-today/current-indoor-exhibits.html Farlex (2003). In . TheFreeDictionary.com. Retrieved from http://www.thefreedictionary.com/museum História. Retrieved December 28, 2016, from Museu AfroBrasil, http://www.museuafrobrasil.org.br/o-museu/ hist%C3%B3ria Orwell, G. (2004). Animal farm. Coral Springs, FL, United States: 1st World Library - Literary Society. Quem somos. Retrieved December 28, 2016, from Museu da Língua Portuguesa, http://www.museudalinguaportuguesa.org.br/?page_id=16 Ryback, T. W. (2016, September 27). Race, colonialism, and the Netherlands’ Golden Coah. News Desk. Retrieved from http://www.newyorker.com/news/news-desk/race-colonialism-and-the-netherlands-golden-coach September 11 attacks. (2016). Retrieved December 28, 2016, from Wikipedia, https://en.wikipedia.org/wiki/ September_11_attacks The mission. (2016). Retrieved December 28, 2016, from https://www.911memorial.org/mission TrendsWatch. (2016). Retrieved December 28, 2016, from American Alliance of Museums, http://www.aamus.org/resources/center-for-the-future-of-museums/projects-and-reports/trendswatch Valentine, T. (2014, April 11). How many people died in the Vietnam war? Retrieved December 28, 2016, from Featured Posts, http://thevietnamwar.info/how-many-people-died-in-the-vietnam-war/

NAME: Fleur Gerritsen STUDENT NUMBER: 2391457 IEMES: CO FAVORITE MUSEUM: Stedelijk museum Amsterdam Imagine standing in an endless desert, all you can see are mountains of sand and a weird, partly fallen apart building. There’s nothing around you and you figure you don’t have much to lose, so you enter the strange building. A lobster telephone is ringing, you decide to ignore it. Wait. A lobster telephone was ringing. A phone the shape of a lobster. Where are you? You step outside of the building, hoping it will tell you more on where you are. Giant creatures are moving your way. They have thin spider-like legs, but they’re enormous! Those are elephants, but with very thin, very tall legs. They’re moving your way, gently and slow. For a moment you’re just standing there, questioning what happened. Then you take of your VR glasses, you have just been inside of one of famous Salvador Dali’s dreams. I’m not one of Dali’s biggest fans, but this experience was truly amazing. I bet Dali himself couldn’t even dream of something like this. But would he like it? Or is art supposed to be experienced in a physical way? Or will we soon be able to visit a museum without even leaving the couch? Virtual and Augmented Reality are being used pretty much everywhere. We know VR (virtual reality) as a booming development in gaming industries. Shooting zombies which are everywhere around you sounds great, right? Riding a rollercoaster without leaving your house is no longer for future generations, it is happening right now. While the application of VR in gaming is logical, it is being used in far more aspects we won’t easily think of in the first place. VR is being applied in healthcare in the form of a treatment for sufferers of post traumatic stress syndrome and has proven to be working, for especially the younger generation.(Rizzo, 2017) Even fully interactive films are being made right now. In the short film Allumette you have the ability watch the film just how you like it. You might peek around corners to observe the characters, or you will maybe choose to enjoy the view of the floating ship you are on. You are in full control of how you want to experience the movie, thanks to VR. (Gilyadov, 2017)

after seeing what it is like with your own eyes. In this subject, the VR experience ‘Defying the Nazi’s’ was developed.(LIFE VR, 2017) This experience is about young kids fleeing Nazi France in order to find a better life overseas. They travel the ocean on a big ship, to find freedom in America. Leaving their parents behind, 29 kids are isolated from everything and spend days in just an endless ocean. The pain of the children and parents being separated feels almost real to you as you are in the middle of it. Experiencing this trip from the perspective of the children really makes you think. The current refugee crisis will immediately pop up into your mind, leaving you with a little something to process. I believe the possibilities of VR are endless and really have a lot to offer. Although it should never fully replace the visit to a museum. The visit, the trip, the weather, the people inside, it is all part of the experience. At some point we need to leave VR for a bit, not everything has to be digitally and everywhere around you. Just not everything is simply better in virtual reality. I think we should leave VR to the subjects that will really have a clear benefit of being experienced in VR. The things we are unable to experience in real life. Standing in a war zone or being on a refugee boat, we should be happy to not having to experience that. But we could in VR, to get to a little understanding and respect. We could never be inside of a painting of Dali, those nasty security guards forbid us to even look real close. But I did, and it was amazing, because it was unreal. References Daly, E. (2017). Why people love immersive, interactive experiences – and how you can create amazing ones. Digital Arts. Retrieved 13 January 2017, from http://www.digitalartsonline.co.uk/features/interactive-design/ why-people-love-immersive-interactive-experiences-how-you-can-create-amazing-ones/ Gilyadov, A. (2017). ‘Allumette’ Is the Longest VR Animated Film Yet And It May Make You Cry. UploadVR. Retrieved 11 January 2017, from http://uploadvr.com/allumette-vr-animated-film-make-you-cry/ LIFE VR,. (2017). VR Experience. Defying the Nazis The Sharps’ War. Retrieved 13 January 2017, from http:// www.defyingthenazis.org/vr-experience.html Rizzo, A. (2017). Bravemind: Virtual Reality Exposure Therapy. Ict.usc.edu. Retrieved 11 January 2017, from http://ict.usc.edu/prototypes/pts/ Voyager VR,. (2017). Stonehenge VR. Voyager VR. Retrieved 13 January 2017, from http://www.voyagervr. com/stonehengevr/

Consumers want completely immersive experiences, they want to be immersed with all senses. When consumers are fully immersed in experiences, the memories of it will last longer and they will be more likely to change their behaviour in the future. (Daly, 2017) And according to the Experience Model of van Gool & Wijngaarden, people will at least want to have a memorable experience. To top that, an experience should be transformative, change our way of thinking or our attitude towards something. When engaging all senses in an experience, it becomes immersive. Depending on what kind of experience it is, it will either be memorable or transformative. And that’s exactly how we want our museum experience to be. Stonehenge made a VR experience out of their standing rocks, where you are able to walk through the rocks. (Voyager VR, 2017) I think we should be careful with the term ‘memorable experience’ in this example. Because, is seeing the Stonehenge really that memorable? Maybe it was because of me being a contrary teenager when I saw it in real life and therefore didn’t like it. But maybe it was because of it was just boring rocks standing on a hill in windy, rainy England. Maybe I would have liked it if I wasn’t walking around it, trying to read the signs but having to cue to read them. Maybe I would have liked it more if I was able to stand next to it, who knows. But in this example, is the Stonehenge itself the memorable thing? Or is it the ability of technology? Leaving us in awe on how amazing it is something like that can be made and really give you the feeling you are on that hill in England. Expect for the weather, cause you can experience it at home, under a roof, next to the radiator, if you might. Maybe being there is part of the experience, rainy and windy as it is. But on the other hand, a lot of experiences can’t be done by yourself. Standing in the middle of a battlefield is not the kind of thing you go do to truly find yourself and to gain more respect for soldiers or inhabitants of war zones. Because I believe having this experience would in fact make you more understanding and respectful, I think experiences like this do have a positive outcome. You would actually have a transformative experience 50

name: Shari de Cortie student number: 2363860 iemes: CO favorite museum: NEMO amsterdam

other way personalization influences museums is by membership, especially when they are more divers or personal. Especially Generation Y (age 13-34) want a feeling of connectedness with each other and a cause, felling of belonging and are public service motivated. Creating more membership programs is a way to engage different audiences in a more personal way. The last way is the evolution of technology usage and online platforms. It is no longer effective to spam large groups instead of personalizing content, it is six times more effective to sent personalized e-mails as a organization (Dilenschneider, 2015).

Individual essay | Shari de Cortie | 2363860 | 16-01-2017 Introduction Personalization is described in TrendsWatch (2015), an annual report by Center for the Future of Museums about upcoming trends, as a result from interplay of technological and cultural drivers of change. It is a trend that affects all aspects of our life. Personalization is going mainstream and is becoming the norm. Customers expectations are increasing about getting personalization content and social care from organizations. This trend is becoming mainstream, because of the available data and the interpretation of it (Mindshare, 2015). The advantages and disadvantages of personalization will be discussed and also personalization in museums experiences specifically. Personalization Mindshare (2015) explained that personalization is upped in all stages of the customer journey. Along with the technology rise and the new ways that these technologies can be used, think about iBeacons for location based personalization. Personalization also make the customer more fond of the organization and gets a more personal customer-organization relationship. There are two related factors that cause the desire for personalization, which are the familarity with technology and distast for impersonal digital space. Because of the growing technology around us we become accustomed to the tool and their convenience, such as personalization. It is experienced as a pain point when there is not enough personalization. Because of this much technology around us we crave genuine interactions. That is why customers today don’t want to feel like a number, they want personal attention (Lunny, 2016). According to Econsultancy personalizations has many advantages. The increase in conversions, improvement of customer retention and getting the most out of your marketing and its tools. This can be achieved by listening to what visitors tell you about themselves and their interests, that can be discovered by their onsite behaviour, and using this information for personalization (Engage, 2016). Rajeck (2016), APAC Research Analyst for Econsultancy, showed results of a survey and 31% of the respondents placed Personalization in their top 3 priorities for 2017. But another survey of Econsultancy showed that only 8% did more than just basic personalization of the content. So why is personalization seen as a priority but spend organizations so little on resources on it? One of the disadvantages of personalization is that it is high in costs. Personalizing content costs time and money, before personalizing content you need to know more about your target group and this needs to be analysed, which costs time and money. There is also a concern from the customer’s side, before you can get personalized information you were tracked. People are concerned about their privacy and feel like they are being watched, tracked or followed (Ndu, 2014). A question that Mindshare (2015) asked themselves in their rapport where is personalization is enough for customers and will they expect back for the data that they share. Personalization and museums Dilenschneider (2015), chief market engagement officer of a market research company, has described 6 ways that personalization influences museums. The first one is that the overall satifaction increased when there is personal interaction between staff and visitors. In the graph “group tours are a fun way to visit a…” that can be seen on this page, it shows that there is a decrease of interest in group tours and commonized experiences. Also online visitors expect to get social engagement from museums and organizations in general. Dilenschneider also says the article that connectivity is king, instead of content. The goal should be to post what people will find most meaningful instead of what most people will like, the personal connection should be the goal. An 52

Kateli & Nevile (2005) say in their paper that technology designers in and for museums are focussing on people-oriented approaches instead of techno-centric approaches. Museums want provide the visitors with personalized content, since the Internet is their primary source of information this is where the museums provided them the content. Technology is always evolving and that can improve the personalization of experiences, such as annotation technology. Or just like a program where users can create a profile and personalize their environment, such as their display, content preferences and control (Kateli & Nevile, 2005). Conclusion I think that personalization is already a standard in our lives, but in the future it will be used in every aspect of our lives. Not only marketing wise, but also during any of our experiences, which include museum experiences. Personalizing museum experiences will only enhance those experiences. By creating personalized experiences you can add value to the experience and the organisation, but it can also make the organisation stand out from its opponents. It does cost time and money, and privacy is still an issue for customers but there are far more advantages than disadvantages. As I see the target future, visitors will be able to like and dislike artworks online, this way they will get a personalized tour according to their preferences. Of course visitors can still walk through the museum and see all the art works. Because they give their preferences online, they can be in the museum while looking at the artwork or be at home. A visualisation of my target future can be seen in the appendix. As been said before, personalizing content requires technology that can be expensive; it may take a while before the personalized museum experience is the standard. Word count: 985

Appendix Target future

Ndu, C. (2014). Advantages and disadvantages of personalisation. Retrieved on January 7, 2017, from 7Marketz: http://7marketz.com/advantages-and-disadvantages-of-personalisation/ Rajeck, J. (2016). Personalising the customer journey: Key trends from our Singapore roundtable. Retrieved on January 6, 2016, from Econsultancy: https://econsultancy.com/blog/67791-personalising-the-customer-journey-key-trends-from-our-singapore-roundtable/

List of resources Center for the Future of Museums. (2015). TrendsWatch 2015. Retrieved from Center for the Future of Museums. American Alliance of Museums. Dilenschneider, C. (2015). Six ways personalization trends are affecting museums and cultural centers (DATA). Retrieved on January 6, 2017, from Colleen Dilen: http://colleendilen.com/2015/05/06/ six-ways-personalization-trends-are-affecting-museums-and-cultural-centers-data/ Engage. (2016). Personalisation is 2016s most important trend, let EpiServer make it easy for you. Retrieved on January 6, 2017, from Engage: http://www.madetoengage.com/insights/personalisation-is-2016s-most-important-trend-let-episerver-make-it-easy-for-you/ Kateli, B., & Nevile, L. (2005). Interpretation and Personalisation: Enriching Individual Experience by Annotating On-line Materials Read more: http://www.museumsandtheweb.com/mw2005/papers/kateli/kateli.html#ixzz4V5EyzAck. Retrieved on January 6, 2017, from Museum and the Web: http://www.museumsandtheweb.com/mw2005/papers/kateli/kateli.html Lunny, O. (2016). Todayâ&#x20AC;&#x2122;s Hottest Marketing Trends: Mobile, Personalization, And AI. Retrieved on January 6, 2017, from Digital doughnut: https://www.digitaldoughnut.com/articles/2016/july/today-s-hottest-marketing-trends-mobile-personal Mindshare. (2015,). The Mindshare Trends 2015. Retrieved on January 6, 2017, from Mindshare: https:// www.mindshareworld.com/sites/default/files/Mindshare%20Trends%202015_Mass%20Personalisation.pdf 54

name: Mirre van Tankeren COURSE: MUSEUM EXPERIENCE student number: 2205967 FONTYS ACI: CO-IEMES

PERSONAL STYLE ESSAY Remember the times that you turned on the radio so you could hear the newest songs? Radio DJ’s told you about the latest news so you thought you were always up to date. Do you remember that time? Me neither. Because it seemed like so long ago that we listened or watched anything that someone else wants us to watch. Especially our generation listens to Spotify and watch Netflix all the time. We like to buy our clothes at H&M or Primark, but we want to style them in a different way than others. Why? Because we want our own personal style. (World, 2015) In museums you find a lot of different art. It’s impossible to not find one single artwork that you like. Because there are so many different kinds of expositions in one museum, there always have to be something you like. But isn’t that crazy that you pay for a whole experience at the museum but maybe you don’t like the half of the artwork that’s in it? PERSONALIZATION AS A TREND That’s why personalization is becoming a trend more and more each day. We’re living in a globalized world right now. We have connection all over the world and we see everything that’s happening on the other side of the world. That’s why people want to get more regionalized, localized and even more individualized things. Not only in marketing, but also in museums. (Forbes, 2014) In the first couple of sentences of this essay I told you about ‘Do It Yourself ’ also known as ‘DIY’. I told about buying clothes at stores where everybody shops, but do a DIY project on them so it still fits your own personal style. Not only you’ll go for your own customized item, it also opens new economic niches. Such as 3D printing. For a company 3D printing is easy and a not that expensive way to create customized products. An e-mail that’s addressed to you personally is more likely to be opened (Trendwatch 2015, 2015).

membership for museums where customers may have to sign in with Facebook or Twitter, so the museums have more data about their customers and they can make special programs based on the individual preferences. CONCLUSION I think personalization becomes more important every day. Especially when it comes to museums. By making it more personal, I think a lot of people would find it less boring because they can now easily get forehand information about museums that they will actually like. That’s why I think that idea of getting a personal art coach could actually work. If they use data from a partner such as Facebook, they get to know what a certain person likes and than they can make a personal experience for them. For example I follow a lot of people on Instagram. I follow them because they seem interested to me and I like the things they do. When I see that they are going to a certain exhibition and they take pictures of it and I think that it looks nice, I would go there too. People agree to log in with Facebook or Twitter and give data very easily and I think it can help museums to understand their customers more and to build an experience for them. Or maybe they can just recommend museums or artpieces. Maybe there will be in the future an app that can combine all these above things. I think that would make the perfect personal experience. Remember when I said that we want our Netflix, H&M clothes and Spotify so personal as it can be, I think that’s the same for museums. Because again, I think neither of us wants to go to a museum and only liked two or three artpieces of it. RESOURCES Forbes. (2014, 11 09). Forbes Marketing Trends To Watch. Opgeroepen op 01 10, 2017, van Forbes Marketing Trends To Watch: http://www.forbes.com/sites/avidan/2014/11/09/11-marketing-trends-to-watch-for-in2015/#6de2bb0d7e83 Peters, J. (2015, 1 8). De Kracht Van Content Data Analyse Het Kloppend Hart Van Personalisatie. Opgeroepen op 1 10, 2017, van De Kracht Van Content Data Analyse Het Kloppend Hart Van Personalisatie: http:// dekrachtvancontent.nl/webredactie/data-analyse-het-kloppend-hart-van-personalisatie/ Trendwatch 2015, T. (2015). Trendwatch 2015. Opgeroepen op 1 10, 2017, van Trendwatch 2015: https:// connect.fontys.nl/instituten/aci-vakken/co-optional-advanced-course-museum/_layouts/15/WopiFrame. aspx?sourcedoc=/instituten/aci-vakken/co-optional-advanced-course-museum/Leermateriaal/Articles/ Trends/2015_trendswatch.pdf&action=default World, M. S. (2015). Mind Share World Trends. Opgeroepen op Januari 10, 2016, van Mind Share World Trends: https://www.mindshareworld.com/sites/default/files/Mindshare%20Trends%202015_Mass%20Personalisation.pdf

The only problem with personalization is that people have to give you that information. They have to be willing to participate because if you don’t know anything about the customers, you can’t make it more specific and more personal. But that wouldn’t be a big problem, according to Jadwiga Peters. Data such as age, gender and residence is what customers fill in when they make a profile. If you have a lot of customers it’s a good idea to personalize all of this information. When you give your customer the opportunity to log in with an app like Facebook or Twitter you can learn a lot about your customer through shared data. These personal preferences are interesting when you want to respond on the interest of someone, what can be a very helpful for museums that want to get more personalized. (Peters, 2015) THE COMBINATION OF PERSONALIZATION AND MUSEUMS According to Elizabeth Merritt she thinks that in the future there will be a personal art coach that will help you navigate through programs and events that are taking place each moth. In mather fact, it’s already here. Yerba Buena Center for the Arts, YBCA, is working with a participants program where you get your own personal art coach. One of the participants said that it’s like going to the gym. ‘You get education, social hour and life coaching all in once. It’s like going to a good gym, but for arts!’ (Trendwatch 2015, 2015). A thing that museums can do in the future is to combine all of the above trends. So they can come up with a 56

name: Danielle Ranzijn student number: 2205829 iemes: CE favorite museum: 9/11 Museum

Virtual reality and augmented reality Digitization has changed a lot in the world, but is this change also good for museums or is it a hindrance? A trend from the Museum trend report 2016 is: Me/We/Here/There: museums and the matrix of place-based augmented devices. This trend is going about the use of virtual reality (VR) and augmented reality (AR) in museums. The use of VR and AR can be in many different forms (Future, 2016). What are the advantages of using VR and AR in museums and are there disadvantages of using VR and AR in museums? It is possible to walk completely virtually through a museum, while you are home sitting on a couch. This can be useful for people who don’t have the opportunity to come to the museum. This can be possible because a variety of reasons such as: a ticket to a museum is too expensive, the distance of a museum is too far (for example, the other side of the world) or someone can’t to a museum because of their handicap. But as a result the unique experience of a museum may disappear. A day at the museum can be for many people very excited and they looking forward to it. However, large museums such as the Rijksmuseum in Amsterdam, the Museum of Modern Art in New York and the Hermitage in St. Petersburg using Google Art. You can virtual walk through a museum and you can see the museum pieces from really close if you use Google art (Wit, 2016). Google Art is an option for the computer, but there is also a project that is called ‘Museum of the Future’. With Museum of the Future you can walk through a museum with you virtual reality glasses, this makes it more real (Virtualdutchmen, 2015). When you walk virtual through a museum, either with a computer as with a virtual reality glasses, there may be an opportunity to add an audio tour. This will give you more information or museum pieces, and there is a possibility to zoom in on a detail for example of a painting. This will help with understanding what the tour guide is telling. It will be a good option if the visitor want to know more about a particular museum piece in advance or afterwards. The Trendswatch 2016 report shown that schools are using VR and AR, for educating the children. ‘VR and AR may play a major role in both formal and informal education. Google Expeditions is already offering teachers affordable kits that let students use Google Cardboard to take virtual field trips to the Eiffel Tower or the American Museum of Natural History (Future, 2016).’ To go to a museum is not always possible for schools. With this option, the children are getting a better view about some subjects. There is also another way to add VR and AR in a museum. An example is an additional source of information (Blankendaal, 2016). With AR you can look on your phone to museum pieces to get extra information. The Nation Museum of Natural History added AR in their museum for example to see the skeletons. With the app of the museum you can see through your phone how this animal from the skeletons looked like, this gives an extra dimension to the museum (History, 2016). Finally, if youngsters want to have a day out, they don’t immediately think of a museum. By using digitizing the museum can attract more youngsters. Youngsters attach great value to the internet, because they grow up with it (Wertwijn, 2016). VR and AR can give a boost to museums and museums can get rid of the boring image of a museum.

Name: Danielle Ranzijn Student number: 2205829 Teacher: Ivanca Linders Date: January 16

The bottom line is that VR and AR has a lot of benefits when you look at a museum, but it is definitely not a replacement. Walk through a museum with Google Art or a virtual reality is nice, but I don’t think it is a replacement of a visit to a museum. I think it is a good way to have an extra experience of a museum and it is possible that it will attract a new target group, which normally don’t have the opportunity to go to a museum. It can also be used as an advance or afterwards knowledge or as lesson material. I really like the idea of a future museum with AR, it is a very good addition. With this a museum can be more interactive and it will become more attractive for youngsters. As a result, it is possible to add an extra experience to a museum. And with extra experience the visitor will remember it better. Nothing beats real visit with all the experience of a museum, but VR and AR are good additions. 59

Bibliography Blankendaal, R. (2016, Juni 21). Cultureel erfgoed in virtual reality. Opgeroepen op Januari 12, 2017, van Beeld en geluid: http://www.beeldengeluid.nl/blogs/research-and-development/201606/cultureel-erfgoed-virtual-reality Future, C. f. (2016). Trendswatch 2016. History, N. (2016). A hall through new eyes. Opgeroepen op Januari 12, 2017, van Natural History: http://naturalhistory.si.edu/exhibits/bone-hall/ Virtualdutchmen. (2015). Architectural/cultural â&#x20AC;&#x201C; Oculus Rift DK1. Opgeroepen op Januari 12, 2017, van Virtualdutchmen: http://virtualdutchmen.com/case/museum-of-the-future/ Wertwijn, M. (2016, Augustus 9). De jeugd van tegenwoordig: technologie als globale identiteit in een steeds kleiner wordende wereld. Opgeroepen op Januari 12, 2017, van Intrapreneur: https://www.intrapreneur. nl/2016/08/09/de-jeugd-van-tegenwoordig/ Wit, A. (2016, December 8). Wandelen door musea met Google Art. Opgeroepen op Januari 12, 2017, van Plusonline: https://www.plusonline.nl/special-artikelen/wandelen-door-musea-met-google-art

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