Talking to Teachers

IMG_4540Putting boxes in front of people in the big wide world is very important because it allows us to find out exactly what does and doesn’t work. We make regular efforts to reach out to both teachers and pupils to figure out how best we can evolve and design the product to fit the needs of the classroom.

Back in November I (Charlie) joined a group of teachers, part of the East Sussex History Network at Heathfield Community College in East Sussex, to introduce them to Museum in a Box, learn about their own teaching methods and hear how they envisage the product benefiting their classroom activities. I had visited the school previously to demo a box during a history class which resulted in a lot of excited year seven pupils so it was an intriguing prospect to see whether the teachers would respond with equal enthusiasm!

In short I was overwhelmed by the positive reaction to the box and it was great to see the teachers coming up with imaginative ways they would use a box and its content as part of a wider community of History teachers. Here’s a short list of the takeaways from the meeting:

  • Age range – the teachers strongly believed that a box could easily sit across any year group and would be particularly effective for those doing their GCSEs in Key Stage 4 and even 5. This was particularly in view of the box being used for revision to revisit teaching material without having to search through a text book. One teacher said in response “my sixth formers would love this”.
  • Path to purchase – how the schools would get hold of a box and content came up several times particularly considering different budgeting options available to them to acquire teaching materials. The teachers who were from different schools suggested the idea of sharing ‘boopable’ content amongst themselves given they already have a channel of communication established between the network and commonality of teaching topics.
  • Home-made material – responses to where they currently source their physical teaching material and prompts included: museum shops, car boot sales and ebay with ‘a desperate need for [supplementary resources] for GCSE’. This was furthered by a discussion about teachers using a customisable box to record their own descriptions to objects and maybe even add tags to objects they have collected themselves. 
  • Record-ability – is a primary interest for teachers to design classroom activities with a box on every table.
  • Class activities – How boxes could be positioned around the classroom was raised several times providing a means for pupils to explore the content for themselves, moving around the tables to hear a different topic or account of an event of period in history.
  • Sourcing objects – There are currently only a limited number of services to acquire physical objects for the classroom, however the ability to loan sets of objects for a whole term from some provides greater flexibility to when topics can be taught.
  • Basic lessons plans – as a starting point it would be useful to have simple lesson plans, teachers would adapt to their classrooms as and when they see fit.
  • Different levels of access – “Having mutli-versions of the same materials at different levels of depth would be very helpful, so there is the same material pitched easily… but they use language and an insight that’s more sophisticated or broad or much more simplified and basic.”

It was a great session and I’m great to all the teachers of the East Sussex History Network. That’s all for now!

C.

Reflections on 2016

We’ve been working on Museum in a Box for just over a year now. We have made lots of prototypes, talked to all sorts of people, and had lots of exciting adventures. This is a little late coming, but Tom and I wanted to consciously reflect on last year’s work as we swing around to planning 2017 (which I’ll write about a bit later).

We’ve chosen a set of particular highlights that we thought stood out, and noted some casual reactions to them… Hope you enjoy the format 🙂

We were also pleased as punch to host Imogen Piper, a design student from Goldsmith’s, and Charlie Cattel-Killick, a sustainable product design graduate from Falmouth University who we ended up bringing into the fold!

Box highlights

  • First commission!
    Anne’s Big Stuff from the British Museum

    • George: When you’re starting something, it’s so helpful to have simple, unconditional support. Thanks to Russell for thinking of us.
    • Tom: This was great to kick start our production process and get us thinking about collections and the juxtaposition of object and content.
  • Ancient Egypt, Daily Lives
    British Museum demo box

    • George: A tiny insect tries to bite a huge beast. Thanks to Lizzie and Chris for not squishing us immediately, but allowing us to nibble for a bit. 😀
    • Tom: A nice first step working with a biggie. An excercise in designing 3D replicas from scratch and we got to test the box with some real-life museum kids!
  • Frogs in a Box
    Smithsonian demo box

    • George: Our first remote deployment. Very exciting to see a photo of the box in Washington DC.
    • Tom: Another stellar commision for us! Extremely grateful to Martin and Sara for believing in our potential.
  • The Planets

    • George: It was such a thrill to see Tom make this. A completely new form factor, and public domain content.
    • Tom: Sometimes it’s fun to run with a simple idea and this got a good public reaction. Bonus!
  • I See Wonder
    • George: Dreaming about a large pilot around the Smithsonian Libraries “I See Wonder” program (20 schools across 20 US states, working with kids on design, too) gave us a real taste of how big this thing could get, and stretched us handily considering such a big deployment.
    • Tom: Seeing what happens when we match our design and tech with Sara Cardello’s learning framework was pretty inspirational tbh!
  • MOO collaboration
    • George: We always knew we’d need help with distribution of boxes, and MOO’s NFC tech was right up our alley. Thanks to Chad, Phil, and Richard for supporting our crazy schemes!
    • Tom: Another nice (and ongoing) match: MOO make lovely paper products with embedded NFC that plays nice with our Brains. Plus we get to hang out with packaging expert Phil Thomas.

Select Clients & Projects

  • Cuming Museum
    • George: One of our first pieces of work that went from original objects to prints, thanks to Tom’s amazing 3D chops.
    • Tom: A nice validation of how 3D scanning can create access to the inaccessible and an amazing glimpse into how hard small museum staff work to connect people to heritage.
  • Science Museum
    • George: All sorts of opportunities here, from in-gallery display to outreach. Plus, they have an enigma machine.
    • Tom: Feels good that museum education staff here are exploring how 3D & interactive can be used in their work.
  • Smithsonian!
    • George: Part of our 2016 strategy was to try to work directly with big museums. Proud to say our “Frogs in a Box” box achieved this goal.
    • Tom: Wuuuut?! Yes this is true and makes me very happy.
  • First custom PCB
    • George: Even though the PCB is quite small, this was an exciting step for me. I absolutely love our physical progress bar feature, and was equally thrilled when Adrian suggested a custom board to support it! I should probably make some jewellry.
    • Tom: Adrian is a genius and made this look so simple! Inspirational and functional 🙂
  • Tiny micro:bit code contribution
    • George: We had been thinking integration with micro:bit would be good for us — probably like lots of other people! — because it has been so well distributed across the country. Still thinking that.
    • Tom: It was amazing to have Tom and Michal from Microsoft Research (!) in our studio, taking us through the possibilities of connecting our Brains to the micro:bit – and then making it happen!
  • Slippery travel crap / VHNIreland video
    • George: A mixture of deep regret and happiness because Tom and I made a good video to play at the talk we missed. Funny how adversity can produce lots of smiles 🙂
    • Tom: We were invited, we prepared, we missed the plane, we made a video, we were there in spirit. VHN are lovely people!

Selected Presentations

    • Lancaster Arts Additive Manufacturing Workshop
      • George: I really enjoyed meeting the folks around this workshop, particularly the amazing 3D printing engineers at Lancaster. Thanks to Richard and Caroline for inviting me!
    • Music Tech Fest
      • Tom: An exercise in capturing an event and working with (very clever) young people at the event in Berlin.
    • Flemish interface centre for cultural heritage (FARO)
      • George: Great to visit Brussels to talk about our work and “virtual heritage”. Nice to have Lizzie Edwards as my travel companion, too.

All in all, a pretty good year! Can’t wait to build on what we consider to be a great success. It’s also important to recognise and celebrate the efforts of Adrian McEwen, our brilliant technical partner from The North, who is responsible for much of the hardware-related development we’ve done this year (and some software too). Thanks, Adrian!

Developing an educational strategy

We’re a core team of designers. We’re not trained educators. While each of us has had quite a bit of exposure to museums, from within and without, and indeed have taught, both kids and adults, with Museum in a Box, we’re trying to improve on a very old idea, of museums’ handling collections being used as learning aids. That’s meant a crash course in the vast landscape of education. Boy, is it HUGE.

Fairly early on, I came up with a matrix-y thing to illustrate what I think are the main segments that our boxes might fit into. You can see it’s a combination of finished or DIY boxes, in a classroom or retail environment.

So, you have a spectrum between a finished box and a DIY box, and you might find one of these in either a classroom, or a retail space like a museum shop.

finished box might contain objects and their stories that are very directly tied to a specific curriculum area and its learning outcomes. This box might be targeted towards younger students, or at least written/designed for a specific age group or key stage.

A DIY box might be used as a teaching device for slightly older students, perhaps high school age, who are starting to dive deep into design/tech subject areas. In this case, you might not purchase anything physical, but only digital and schematic things. Students would put together the entire thing, from configuring the Brain, to writing the content, to producing the content, to printing the objects, to making the container, etc. We like this approach because the kids could learn a thing or two about history or art or science as they’re constructing a product. It feels like great cross-pollinatory learning, and the teachers we’ve talked about it agree.

You could see either of these boxes also existing in a retail environment. We’d love to make a box to accompany an exhibition, so instead of that spectacularly unsatisfying experience of only being about to buy one or two postcards of what you’ve just seen, you could buy a box that lets you delve deep into every aspect of the exhibition, including perhaps even how it was made. You take it back home and can spend time. We also like imagining this type of box in a pre/visit/post context… maybe the box could be sent to schools before the students visit your museum, so they can be familiar with what they’ll see before they arrive. Once they’ve come and seen things, they could produce their own impressions of it all, and make their Museum in a Box play that instead of the Official Point of View.

Personally, I’m also curious about the collision of Museum in a Box with Design/Tech because, to me at least, it feels like lots of the tech projects out there suffer a little from a lack of content, or that it’s engineering for engineering’s sake? But, then you watch videos of kids making electric guitars with a  micro:bit and maybe that proves me wrong in an instant.

Each of these types of boxes and their associated activities and work leads me to a concept we bumped into in the course of last year. As we were working with Sara Cardello, Education Specialist at the Smithsonian Institution Libraries, on a pilot partnership, we discovered the idea of 21st Century Skills. As I understand it, the general initiative was formed in 2002, as a coalition of the business community, education leaders and policymakers who were determined to:

[put] 21st century readiness at the centre of US K-12 education and to kick-start a national conversation on the importance of 21st century skills for all students.

Framework for 21st Century Learning

While there is certainly still emphasis placed on “mastery of fundamental subjects” like English or Maths, 21st century themes are introduced too, around information / media / tech, learning and innovation (and importantly, improvisation), and broader life/career skills.

It’s about setting students on a course to build muscles around things like cogent reasoning, evidence collection, critical thinking and analytical communication, all of which are surely useful when it comes to investigating cultural description and points of view generated in certain context.

  • You can see the skills outlined in the P21 Framework. There’s a ton of documentation on the site too. Lots to explore.

3D Museums: Tactile learning, greater access

Over the last year or so, we’ve also been steadily learning more about object-based learning, and we think it fits in especially well with the overall tenets of 21st century skills, combined with Museum in a Box. Object-based learning is used at the British Museum too, with school groups that come to visit. With thanks to Lizzie Edwards for sharing her knowledge in this area with us.

The main benefits of using objects in learning, according to UCL Museums and Collections, are that they:

  • provide a direct link with a topic or ‘the past’ and can really enhance young people’s interest in and understanding of a topic/subject.
  • encourage learners to use all their senses – especially touch, sight and smell.
  • help to develop the important skill of drawing conclusions based on an examination of evidence, together with an understanding of the limitations and reliability of evidence.
  • are ideal for generating group and class discussion.
  • promote the value of museums and encourage young people to visit museums and galleries with their families to further their learning.

One of the diagrams I found in my research is a handy glanceable thing to help you quickly understand that object-based learning is about asking interesting questions of an object, from lots of different angles… This diagram has been recreated — mostly so it fitted in with the colour scheme of a presentation I was giving! — from the superb report (in PDF format): Learning Through Culture: The DfES Museums and Galleries Education Programme: A guide to good practice (2002)

I presented these rough ideas in Brussels in late November at the Faro’s “Heritage, virtual and augmented” conference. Here are the slides (or a version with presenter notes):

Bright Lights

We continue to research and look to leaders in innovative learning around the world as we ourselves try to learn more about how Museum in a Box can actually help museum educators and teachers, and not hinder them,

We find ourselves studying systems like:

  • diy.org – “DIY is a safe online community for kids to discover new passions, level up their skills, and meet fearless geeks just like them.” Who says education can’t co-exist with creativity??
  • Technology Will Save Us – We’ve been especially impressed by the generosity of the TWSU Education folks. All their stuff in published online, and let me tell you, we’ve been studying it! 🙂
  • AltSchool – “creating a 21st century work environment for our educators”, “supporting, rather than disempowering, with technology”.

There’s a long way to go, but broadly speaking we’re liking the feel of a framework that blends object-based learning and 21st century skills as our starting point.

We’ve already written a job description for an Education Producer – we know it’s a gap – but happily learning about this new, huge environment in the meantime. If you know of a good group or person who might be interested to fund a position like that (maybe a contract to the tune of £10k?) then please tell us who we should talk to!

 

Ramesses in a Ramesses #DesignByCapture

MyMiniFactory, Autodesk ReMake, and Autodesk® Fusion 360 recently hosted a competition aimed at demonstrating the potential of their platforms to integrate photogrammetry into the design process.

The competition asked entrants to capture and modify an object that they use for their ‘favourite hobby’. We considered adapting a piece of our photography kit used for photogrammetry but opted instead for a more playful approach and hacked a scan of Ramesses II, one of the largest sculptures in the British Museum:

Next we were required to customise it to best suit our needs, it may seem surprising but we have quite a few 3D prints hanging around our Bloomsbury HQ yet few cool places to store them. Cue light bulb moment, why not make a giant Ramesses and use him to store a bunch of smaller prints!

We identified six scans that we could place within niches inside the big Ramesses including a smaller Ramesses bust (Ramception) and then got to work using Fusion 360 to modify the original scan.

First we had to reduce the polycount in order to open and edit the sculpture in Fusion which was then swiftly sliced in half. A hinge was then created by extruding a circle into a cylinder and splitting it into five parts which were then alternately combined to the front and back bodies. We also modelled a simple pin to lock the two halves together completing the hinge that would enable the secret stash of models to be opened and closed.

Ramesses Fusion 360 development

The final steps involved scaling-down and reducing the polycount of the six smaller models and positioning them where best, then all that remained was to trace a rough outline of each onto the flat plane, cut away each niche and insert the models.

We were fairly chuffed with the outcome especially when we threw on a jade material layer and rendered it through Fusion’s cloud rendering service. Content, we uploaded the model to MyMiniFactory and entered the competition.

Shiny jade render of Ramesses II

Unfortunately we didn’t win the competition otherwise we would almost certainly have our heads buried in VR right now but nevertheless we’re very happy with the outcome and the awesome job MyMiniFactory did of printing it!

ramsses-museum

3D Printed with a working hinge!

(Print images by MyMiniFactory)

It may not be jade but it’s still pretty swanky

C

#3D4ever

Last week, whilst George and Tom were attempting to reach #VHNIreland I was having slightly more luck arriving at the Wellcome Collection for the ‘3D4ever: building three dimensional models to last’ conference.

The conference focused around the long-term durability and accessibility of 3D models and scan data for future uses, uses which as we discovered in some of the talks may not be immediately obvious. I thought I’d take a moment to reflect on a few thoughts and favourite take-aways.

Having a good understanding of photogrammetry (primarily by probing Tom for tips and tricks) I opted to skip the workshops and stick with talks for the whole day, it was intense but informative and an eye-opener into a community that I didn’t even know really existed! So… a few highlights:

Stuart Jeffrey from the Glasgow School of Art (GSA) discussed a use-case where an old 3D model of the GSA Mackintosh Building which suffered severe fire damage in 2014 provided evidence that a substantial lean on the West gable wall was historic and had not come about as a result of the fire. Members of the GSA Digital Design Studio produced a second model the day after the fire to compare the lean and save a large portion of the building from demolition an impressive feat and one which illustrated the importance of making good data accessible in the long-term.

Stuart Jeffrey from GSA

Anthony Corns from the Discovery Programme talked about his experiences of archiving and reusing 3D data as well as the steps and software involved in the creation of a model. One slide showed a standard software stack consisting of about 12 programmes which was somewhat surprising, working with Tom to process various models I am slowly but surely becoming aware and familiar with the wide range of tools out there.

Anthony also spoke about using scan data to asses pressure on different sites his example being Skellig Michael which has witnessed a surge in tourist numbers since Luke Skywalker decided to hang there in Star Wars: The Force Awakens. This also demonstrated when are where it may be appropriate to sell 3D data such as to film/production crews.

 

Chris Moran who heads the Wellcome Trust legal team gave an insightful talk on Intellectual Property Rights (IPR) an area where people often become a little tangled. I was listening from a design perspective so it was interesting to see examples where cases had been argued and won based on the potentially loose definitions of what constitutes something as an ‘original creation’ or even a database, his example being a newspaper’s website. Star Wars references were also utilised here in the form of the IP rights of a Stormtrooper’s helmet… I sense a pattern developing.

IP Rights with Chris Moran

Vincent Rossi and Jon Blundell of the Smithsonian appeared via Skype to discuss their work on digitisation and also show off their amazing work on the Apollo 11 command module ‘Columbia’ check it out here.

Vincent Rossi and Jon Blundell all the way from America

I had the opportunity to ask a question to our speakers from across the pond which was kinda cool!

Finally perhaps the most insightful moment was the final ‘Round-up chat’. Here following a panel chat the audience were invited to reflect on: what is to be done and how to address the gaps in our knowledge?

A final panel chat

It was clear there was a desire for good collaborative practise and several rousing speeches were made, there was a great deal to get off the chest! A key agreement was that to work with better tools and formats, instead of trying to create new ones, complain about a lack of essential features, and live in fear of formats going extinct, why not establish a line of communication with the developers and those behind the existing platforms. The software stack slide that Anthony showed sprung to mind and it became apparent there was a need for openness and better communication between all parties involved in 3D work not just in the short term and not just for individuals and independent organisations but the community as a whole.

What a day, mind blown!

C

Failure to get to Cork = virtual presentation for #vhnireland

Last Friday, Tom and I had the best intentions in the world of presenting to the attendees of Virtual Heritage Network Ireland in Cork. We were all set to talk about Letting Objects Speak for Themselves, and show folks some working boxes. It was also going to be my first visit to Ireland! But, our journey ended at Stansted, after a remarkable slurry of travel woes I shan’t bore you with. Suffice it to say that everything that could have gone wrong, did.

With our tails between our legs, Tom and I knew we wanted to send something in our place, so we headed back to HQ to see if we could make a video version of what we’d planned to talk about. Fate steps in again – we’d both not brought our office keys! (And Charlie was off at the Wellcome’s 3d4ever meeting!) Gah!

Luckily, the little office next door was open, so we were able to suck the office wifi, and we put together a version of what we would have said on stage to send over. Phew!

Museum in a Box – Letting Objects Speak for Themselves – VHN Ireland from Museum in a Box on Vimeo.

We were very happy to watch people via Twitter telling us they enjoyed it. A soothing balm after a shitty day, and overall, a helpful result!

 

Thanks for the kind words, everyone!

All boxed up at MOO

We recently paid a visit to our friends at MOO HQ which is only a stones throw from our Bloomsbury base to meet up with Toby Hextall and Phil Thomas who are the go-to designers on all things product and packaging. We wanted to get some packaging tips and also start prototyping a few concepts and Toby and Phil were kind enough to help us out.

 The Moo office is a beautiful and inspiring place and so we couldn’t help but take a few snaps before getting down to business.

Moo Entrance

After a catchup and some brainstorming we set to work on a first iteration container to house a brain box and set of MOO’s NFC cards. They have some great kit and we were able to prototype a set of packaging inserts and a card box using their Graphtec FC2250 Flatbed Plotter. The machine cuts and scores each piece of card very fast and accurately and it also works with an inDesign plug-in making the whole experience super smooth. 

img_8844

We learnt a lot about product packaging in a short period of time and worked through several iterations of inserts designed to hold a ply brain box and business card box. Whilst refining a design we also tried out various card stocks including thick corrugated sheets and recycled craft card. We discovered that the insert had a tendency to rise up around the plywood brain box so added two flaps that the brain would sit on top of to prevent this rising from happening. The box of cards also caused the insert to flex and so we tried out different tab widths as well as corrugated card to work around that.

Below is a video put together to show the machine we used to cut the inserts and the iterations in a little more detail:

We’re excited to see what else we can produce and how we can develop our packaging prototypes. We hope to spend some more time with Phil, Toby and the rest of the team in the future and we’ll keep you posted as always as things develop. Exciting times!

C.

charlie with phil

 

A Camera on a Pole, Drama Through the Ages

On a blustery Wednesday here in London, Charlie and Tom venture out to try out an idea – to make a 3d scan of a frieze on the old Saville Theatre on Shaftsbury Avenue. Only one problem stood in our way – it’s 20 feet (6 metres) in the air:

We’ve been 3D scanning for a while over here – and teaching other people the not-so-dark art too – and one obstacle that we’ve come across again and again is that we’re just. not. that. tall.

This is normally not a problem in day to day life, but when you’re trying to 3D scan the top of an ancient egyptian sculpture that’s 10ft in the air or indeed a complete a totem pole – being taller than a regular human would be an advantage.

Our solution? A Big Stick.

Among my various work I (Tom) have done a fair amount of sound recording on short films and documentaries and one of my trusty bits of portable recording gear is a boom pole. While normally the thread attachments only fit 3/8 inch microphone grips, by purchasing a thread adaptor and a ball head mount we made ourselves a pretty serviceable camera pole!

We can control the camera (a Canon G7x) with an app on our phones that displays a mirrored viewport of what the camera can see via WiFi. A tap on our handset triggers the shutter on the camera, complete with a handy cartoon “ker-chik” sound from it’s speaker.

Never one’s to miss an opportunity, our first outing with this set up was to make a scan on the side of a building on a busy road in central London.

Pinball Wizard: Games for Learning

Last Thursday, Charlie and Tom went along to an event organised by the London Museums Group and hosted by the Jewish Museum London that was all about games in museums.

The day consisted of a series of talks by game makers from both inside and outside museums, all with lots of interesting takes on what games are and what they (should) do. It was a great chance for us to fill our brains with expert information and got us both thinking about how we might use some of the principles we learned to make Museum in a Box even more engaging and – gasp! – fun 😀

Needless to say, they had a healthy amount of fun and they share some of the ideas as well as their own thoughts in this post…

Some of our fave takeaways:

It’s fun to have fun – you’ll learn stuff along the way.

The day began with a keynote from Martha Henson who distilled what makes a game into three basic constituents:

  • Mechanics
    The rules of your game. How the game is played, what actions the player can make, win or fail states, how rules are enforced
  • Dynamics
    How the rules act in motion. How they respond to player input and interact with other rules. The “run-time” behaviour of a game.
  • Aesthetics
    The player’s experience of the game. Is it fun? Social? Frustrating? Hilarious?

From Martha Henson’s talk Creating Compelling Museum Games

I don’t know about you but I find it really handy – as an inexperienced game designer approaching the subject – to be able to turn to simple principles like these to keep me on track when making something.

Another reason I enjoyed Martha’s keynote is that she used games to explain the principles she was describing – she got the whole room to perform the act of game  design by playing Cat on Yer Head and showed how you can get people to do things they don’t normally do through play:

In the above short video I’m trying out an app called Bounden which was developed by Game Oven Studios for the Dutch National Ballet, an app that gets you to – if not exactly dance – at least move your body in an unusual way.

Check out slides form Martha’s talk here.

Games don’t have to be on a screen (gasp!)

While I am most definitely familiar with screen based gaming (the original GameBoy and SNES being my first memories of such things), it’s good to be reminded of the fun to be had with simpler technology.

Lo-fi Fun

Charlotte Derry spoke about some amazing user research that she and colleagues had undertaken at Manchester Museum around allowing play to take place in your museum.

Instead of the perhaps more familiar ‘stop that’, ‘put that down’, ‘shush!’ school of public engagement, visitor services staff were encouraged to observe where visitors to the museum were making their own fun and to allow this to happen. They also experimented with simple and cheap activities – making animals and objects out of newspaper and sticky tape or using simple prompts to encourage fun and giggles:

Even better than just doing this research, Charlotte and friends produced a handbook to help other museums do the same.

cof

Taking Turns

Fran Jeens from the Jewish Museum showed off the fresh-off-the-press games that had been commissioned to promote discussion within school groups that visited the museum.

Teachers take a particular board and set of cards to a particular exhibit in the museum, sit about on cushions and everybody takes turns picking cards that relate facts, ask children to visually inspect the object in detail, pose questions or suggest activities.

This definitely got us thinking about how we might use cards to prompt activities around museum objects in Museum in a Box…

Barriers to play

Sophie Sampson gave a great appraisal of the barriers to playing games in public via observations gleaned from her work as one half of Matheson Marcault.

Having organised large scale gaming events for New Scientist, Somerset House and Kings College London Sophie has had the opportunity to watch people while they are playing all kinds of games but also to observe what it takes to get reluctant gamesters involved (and we’re talking mostly about adults here as kids generally have less inhibitions).

Sophie boiled it down to The Five Elements of the Decision to Play (I’ve added my summary interpretation in italics,  Sophie explained it much better tho…)

  • The Attractor
    “ooh what’s that? looks like it might be fun…”
  • The Invitation
    “hiya, it’s OK to act a bit differently in this space…”
  • The Threshold
    “…beyond here, you are in the game zone, prepare for funz!”
  • The Call and Response
    “Right, now you’re here, this is what you do…”
  • The End
    is the game over? ah, yes, the game is over… one more time?”

So hopefully I’ve not mangled those ideas to much but the main take away for me was that, even if you have a well designed, it’s worth your while thinking about how you invite people to actually play it.

Taking Inspiration from History

Andrea Cunningham & Sophie Sage from the V&A Museum of Childhood took us through the new exhibition Game Plan: Board Games Rediscovered which recounts the history of the board game and  ‘celebrate[s] the joy, excitement and occasional frustration of playing board games.’.

The exhibition features all kinds of board games that you can sit down and play, while the exhibition itself can be experienced like a board game:

The exhibition also includes some related events like a dress up family tour as well as a wel attended board game night for grow-ups too… turns out that everyone likes having fun 🙂

At the end of the exhibition patrons can take a ‘board game personality test’ and discover out what kind of board game player they are. Andrea and Sophie invited us to take the test too and it turns out that I’m a Goody Two-Shoes type, always playing by the rules and trying to help everyone get along….

My take away from this section was that you can infuse most things with fun and games and make them more interesting and engaging. The fact there are enough board games for an exhibition in a museum suggests that humans have had an appetite for gaming for quite some time, too.

OK, I’ll leave it there.

There were plenty of other speakers that said interesting things, like

But this  post is already long enough. Suffice to say plenty of people believe in the power of play to engage and enthuse and educate in the cultural heritage sector and there are plenty of examples of it in practice.

A couple of thing I was left wondering about at the end were

  • The purpose of games – are they marketing/headline grabbers for museums? are they a learning tool? what needs do they address for a museum visitor?
  • How you measure success of a game – number of downloads/plays? inferred learning through observation? a written test? a laugh and a smile?

These might not even matter that much as fun is often an end in itself and if you’ve had fun, you might just have learned something along the way.

T.

Augmented Reality [AR] Postcards with Augment App

One thing I love about making a 3D scan of an object is that you can do multiple things with the resulting digital data. You can post it online for people to examine in their web browser; you can beam it across the the globe (or into space) to someone with a 3D printer and they can effectively replicate it; you can put it in a video game or VR scene

I wrote a couple of days ago about how the 3D scanning that we conducted for the Cuming Museum – a museum with no building (it burned down) but with enthusiastic staff that help people connect with the surviving collection through events, outreach, the web and social media.

In the video above, you can see the 3D models we made popping up from postcards through the clever tech of an augmented reality (AR) app called Augment.

We first started having fun with this tech at a residency at Somerset House way back in March, 2015 as part of The Small Museum. We used the tool to reveal the true colours and (maybe more significantly) the true scale of a Colossal Foot from the British Musem (of which, it turns out, there are many.)

Read more about those adventures – and the genesis of Museum in a Box – on The Small Museum blog.

The steps you need to go through to work this magic is fairly straightforward – upload your 3D model, indicate it’s size, upload your image, indicate it’s size, associate the two and you’re done. Fire up the Augment app (Android / iOS), point it at your image and – boom! – you’ve got some very cool AR happening in front or your eyes!

You can also have some fun with how the image that triggers (or “trackers” as Augment calls them) the AR relates to the 3D model that pops up. While we simply used a couple of collection images as triggers. In our experiments, an image of the poor giraffe statuette in pieces after the fire to trigger 3D of the lovely complete version after careful conservation. The 3D scan of a poor malnourished tiger’s skull from the long defunct Surrey Zoological gardens is triggered by an illustration showing Queen Victoria and Prince Albert visiting the Surrey Zoological Gardens in 1848 – complete with wholly unsafe jack russel terrier in the cage!

By by playing with the combination of image and associated 3D, you can help tell an artefact’s without any words. Of course if you add words and sounds you’ll be hitting all kinds of learning styles. Plenty to explore here….

Try it yourself, print off the images below at A5 size and scan them with the Augment app!

T.