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:
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.
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?
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 Headand 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.
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.
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.
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…
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.
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.
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.)
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!
The paradigm that Museum in a Box uses to connect objects to related content is simple:
Take a Thing.
Put that Thing on a Brain.
Receive lovely and interesting Content.
You can think of Things in the above scenario as ‘keys’ that unlock the context to the object you’re looking at. Sometimes the Thing is a 3D print of a scanned artefact, sometimes it’s a picture postcard and sometimes it’s fun to leave things a bit ambiguous – what is the Thing you’re holding? How does it relate to the Content you’re listening to?
This is what we explored a bit with Prototype No.13, which you can watch a demo of in the above video.
For this Box, we used some public domain audio from The Internet Archive as the Content and decided to try out a form factor for the Things that reflected what you would be listening to but still leaves a lot to the imagination…
So in case you’ve not guessed yet, we used the Planets Suite by Gustav Holst for this Box, hence our spherical Content keys/triggers. We sourced some half-spheres of birchwood from eBay, as this seemed like the easiest way to get an RFID tag inside a globe shape. Polystyrene may have been cheaper but we like the look and feel of the plain wood. We slapped an RFID sticker on one half and used wood glue to join this to its counterpart.
Making this prototype was also a good exercise in testing the limits of our tech. It turns out that smaller RFID tags have (maybe unsurprisingly) a shorter pickup range when offered up to the RFID reader we’re currently using. In a quick test, the small tag would not trigger the audio when housed in our 32mm diameter balls (so their range is less than 17mm). Fortunately, upgrading to 25mm tags extended the range of our wee planets to about 2 or 3cm. We also found out that tags only register on the reader if offered in a near parallel orientation (as in the GIF above).
We re-purposed a gift box to house our Raspberry Pi, tag reader, battery, audio speaker & cables and made a simple insert with holes to hold the planets in a nice formation and another to suspend them over the RFID reader. (Extra special thanks to my partner and her mum for helping with this!)
All in all creating this Box only took about half a day and we’re very pleased with the results 🙂
We’ve been doing some more 3D scanning, this time for the Cuming Museum – a museum based in South London, UK.
Interested in exploring new ways to engage people with the museum’s collection, Judy Aitkin, Heritage Manager for Southwark, contacted Museum in a Box about the possibilities of producing “something 360” for their re-vamped website.
We were, of course, happy to help and paid a visit to their stores to take some 1600 photos of 10 objects from across the museum’s collection…
A Museum With No Public Premises
The Cuming Museum is an interesting case in Museumland – it’s a museum that (currently) has no physical premises. No galleries, no cloakroom, no café – all of these were the unfortunate victims of a fire in 2013 that severely damaged the lovely red brick Town Hall building on Walworth Road that housed the Cuming family collection and artefacts relating to the history of the Borough of Southwark.
Cow’s Heart Charm
Despite not currently having a physical museum to manage, Judy and her team are doing a great job keeping the Museum’s audience up to date via the Southwark Heritage website, Twitter, Pinterest and blog as well as through regular heritage events.
Sharing three dimensional proxies for ancient artifacts online was one of the things that first got us thinking about how we could share the amazing objects museums and other institutions have in their galleries (and vast storage) with people across the world who might not be able to visit a particular museum in real life…