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Training Days!

“Thank you for your hospitality and making things as simple as possible to understand.”

– Tracy Linsley, Tees Valley Museums

Making a collection for a Museum in a Box involves a number of different activities: curating a set of objects, writing stories, recording audio, and writing content to the Box. It takes a lot of thought and effort to produce compelling content. With that in mind, we recently started offering Training Day Workshops in our shop to offer support for those just getting started.

Last week we were delighted to welcome Tracy and Jo from Tees Valley Museums to HQ for a Training Day. They had purchased two Boxes to use as part of their outreach and participation with families in the local area and were looking for specific help with creating and editing great audio.

The Workshop

After welcoming Tracy and Jo at HQ and getting settled we talked about how the Box will be used and what the team have already started doing in preparation for using their Box. They recently bought a Zoom mic and have already been recording children’s responses to objects.

They had also been working on object lists for two different collections so we decided to use those as a springboard. We selected one object from each list that we would use to go through all the steps involved in creating and adding content and connecting it to an NFC sticker.

First we printed out the object images, mounted them on some card and added the stickers. We find this method of creating rough comps really useful as it helps to figure out whether the object and audio in question will work well. We can then make changes and push an idea along much faster.

Next we got the team set up with accounts on our Heart platform, and after a quick look round, set up a collection ready for them to start adding the objects and audio to.

Tracy and Jo didn’t have any experience of using audio editing. At HQ, we use Audacity because it’s free, does everything we need, and is quick to pick up. So after a quick walkthrough, we split into two groups to edit the children’s responses, working through things like trimming, amplifying, and adding sound effects to the tracks.

Below you can see the result of those efforts and hear the wondrous responses to the objects from the visitors! First there’s Jo’s Zebrite Grate Polish card which prompts us to remember that people like museum objects for all kinds of reasons..

Jo’s Zebrite workshop audio

and then there’s Tracy’s £5 note with responses about locomotion, George Stephenson, and ‘the biggest five pound note ever!’

£5 pound note mockup card
Tracy’s £5 notes workshop audio

It was great to see Tracy and Jo pick up Audacity so quickly, and also how a base level of digital knowledge for a tool can be all you need to get going. Both said how enthused they were to go away and do more audio editing, including with their own children! Audio editing can often seem a scary thing on the surface but once you know the basics it turns into a really creative and fun process!

Uploading content to the Heart platform.

After editing and exporting our .WAV audio files it was time for Tracy and Jo to upload the content they’d made to the collection on Heart. Watching how users navigate around the site is also really helpful to us as it’s showing us how we can improve it in the future.

Jo and Tracy booping their cards for the first time!

With the audio online, we fired up the Boxes and went through the process of adding a new collection to a Box and writing stickers to make them play the right audio. There was a great sense of anticipation and excitement after we had heard the objects booping for the first time, as well as a real sense of achievement all round. All that just in time for our guests to dash off and catch their train back home.

We were delighted to host Tracy and Jo, and learned a lot from it too. We’re able to tailor workshops to your needs, so if you’ve bought a Box or are considering buying one but would like some guidance using it, do get in touch and see if one of our Training Day Workshops is right for you.

Training Day Workshops can be purchased in the shop.

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Museum in a Box tells our stories

As efforts to repatriate Africa’s artefacts continue, a Zulu collective has hit upon a digital solution.

BY LAURA GIBSON
Article on mg.co.za
(Links here added by the Museum in a Box team.)


Page 16 of the Mail & Guardian, March 13 to 19 2020

Twelve African heads of state, including President Cyril Ramaphosa, committed last month to “speed up the return of cultural assets” to the continent during the 33rd assembly of the African Union in Addis Ababa. Most of these cultural assets are still held captive by the old colonial powers in Europe. This renewed, high-level interest by African leaders in repatriating objects to their places of origin coincides with intensifying debates within Europe about decolonising museums there.

Britain consistent in its refusal to return the looted Greek Parthenon Marbles and other items now faces pressure from the European Union to repatriate the Marbles as part of the Brexit withdrawal agreement. Despite this, a British newspaper saw fit last month to question whether artefacts stolen during the colonial era meet the criteria to be returned to their rightful owners or descendants.

Such deeply embedded reluctance to confront this glaring aspect of Europe’s colonial past is made starker still by French President Emmanuel Macron’s efforts to facilitate the immediate restitution of African artefacts held in French museums to their original homes in Africa.

As calls to decolonise strengthen worldwide, repatriating artefacts to the people and places they were often brutally taken from is both urgent and complicated. The remarkable work of the Kenya-led International Inventories Programme shows just how hard it is to get European museums to share inventories and details of their collections in the first place. As they argue, people need first to find out what was taken from them.

But getting artefacts back is also just a first step. Returning high-profile pieces is an important part of the decolonisation process but it doesn’t, on its own, restore control over the history of the artefacts to communities that made and used them. Where colonialism was so pervasive was in its erasure of those histories, rewriting them once the artefacts entered museums. Even now, it’s rarely the people who made and used the artefacts who get to tell their stories and say why they’re important.

What headline-grabbing repatriation cases do not address is how to approach the thousands in some cases millions of similar items languishing in museum storerooms: artefacts that colonialists saw value in taken but that aren’t, now, considered valuable enough in European terms to permanently exhibit in museums, yet aren’t being given back either. Beyond the big-ticket items, we need to think about how we rewrite these stories, who it is that gets to tell them, and how.

Technology ranging from online, open-access museum databases to 3D proxy prints of artefacts is often touted as the solution to reunite people and objects torn apart during colonialism. But simply handling over images to Google to share far and wide does not solve the problem. Fundamental questions of who designs the databases, and who gets to control the data, reflect entrenched power dynamics that have historically left originating communities on the sidelines of their own history.

These debates about how to deploy new technologies are emblematic of a broader need to upend lingering colonial-style relationships, to shift power to that people can tell their own stories, in their own language, on their own terms.

There are ways, however, to use the power of technology to do just that. The Amagugu Ethu collective in KwaZulu-Natal an isiZulu-speaking group of artists, a nurse, a writer, an educator, a tour guide, and a sangoma is attempting that with their Museum in a Box.

Last year, during a visit to Cape Town, the collective identified and recorded stories for the Museum in a Box about Zulu artefacts collected in previous centuries for the country’s oldest museum now part of the Iziko Museums. In monetary terms, few of the artefacts selected have value. But, for this group, artefacts dismissed by museums as pots, medicine containers, herbs or beadwork objects chosen in colonial and apartheid days to “prove” how little civilised Africans were have rich histories and significance that resonate today. What the box does is give space to narrate these unwritten stories on their own terms.

The shoe-box sized museum is, technologically speaking, a simple device centred on a Raspberry Pi a credit-card sized computer that costs about $70 [South African rand]. Working with near-field communication tags, when a scaled 3D print or photograph of the artefact is placed on the box, it starts to “talk”, giving the object’s oral history through a built-in speaker.

Crucially, for Amagugu Ethu, the voices in the box are Zulu-speaking collaborators. The response to telling and hearing their own stories has been in the words of Nini Xulu emotional and affirming.

Nini Xulu

The collective exhibited the box at various heritage events in September. The aim is to place boxes in museums, schools and libraries across KwaZulu-Natal, and then work on expanding its collection to include Zulu artefacts held by museums across Europe and beyond.

Being low-cost and portable, the box provides people access in places where internet connectivity is limited and expensive. It is not a substitute for doing the soul-searching political work of repatriating the artefacts; decolonisation is more than repatriation, but cannot happen without it.

What the box may be is a new way of using technology to upend these old power dynamics and ask people to tell their stories, in their own way.

Dr Laura Kate Gibson is a lecturer in the department of digital humanities at King’s College London.

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archive company news design

Hardware History

This week at HQ, we’ve started doing something called “deep work”. The people at Do Lectures, whose book we’re reading this month about writing good email newsletters, recommend it as a way to not be distracted by all the things that pop up in our lives now thanks to our phones and the web and all that. It’s good! We’re going to persist.

Our deep work mechanics at this stage are that I’ve set an alarm on my phone that goes off at 2pm, and again at 5pm, and in that window, we try not to use our phones and turn off the WiFi on our laptops.

One of the main jobs we have at the moment is to think more about sales and marketing. We haven’t especially done any yet, apart from talking about our work to people who mostly already know us, so we’d like to broaden our audience a bit – hence reading about writing better newsletters. Would you like to sign up for our newsletter? We thought we’d start with our homepage, which hasn’t been changed since we wrote it, really, back in 2016. (Not proud of that!). So, we’re working on that.

During that exercise, we were flung off into a lovely exercise of pulling things off our shelves, and arranging it — or knolling it — on our big work table. It was really satisfying to see how Museum in a Box has evolved.

Here’s a wobbly panorama of the whole scene to start with. Packaging, Box inserts, the Box and its various design branches, the “brain” which is all the hardware/software inside, our progress bar, and the sound elements, from volume knob selection to amplifier design.
You can see the Box insert cards, from the very first idea of a scribbled “Updates” card, to our current TRY ME! cards, which give people who’ve bought a Make Your Own kit something to play before they’ve finished their collections.
These are the various elements of the “brain”. From earliest at the top, to most recent at the bottom. Exciting to see Adrian’s very first comp of our physical progress bar, which we developed because the Box took about 30 seconds to start up. Now it takes about 12 seconds!
And finally, we have about ten hardware versions we consider to be major milestones in the design. It’s not quite Dyson’s 5,000 iterations, but we aren’t as rich as him, so, there’s that. It’s still really satisfying to track the design evolution and how we’ve continually synthesised feedback and technical considerations.

We’ve parcelled all the iterations up into their own labelled boxes on the shelves instead of them being all over the place, which I find comforting.

Possibly the best bit is that Charlie’s also made an awesome 3D model of the table with all the bits and bobs on it!

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company news

Brown Paper Packages Tied Up With String

Some of our first Make Your Own kits leaving the nest for Spain, Canada, and the USA!

Great Zulu stories and notes from the Arctic,
Bright yellow boxes and Make Your Own pilots,
Brown paper packages tied up with strings
These are a few of our favourite things…

New courtroom faces and snap tins for miners,
Queens losing heads and a lobster that blushes,
New PCBs that can tell you what’s what,
Kids so excited they’re all tied in knots…

Beautiful boxes and factory stories,
Magical objects and Japanese letters,
Powerful gods and goddesses that win,
These are a few of our favourite things…

When the rent comes,
And the bank shouts,
When we’re feeling sad,
We simply remember our favourite things,
And then we don’t feel so bad…

Bright civil servants returning to workplace,
Teachers who test things and tell us what’s working,
Web shop in order and cash coming in,
These are a few of our favourite things

US museum our top Make Your Own’er,
Bilingual cards made by Spanish teenagers,
Planning new projects in prep for next year,
All of these things fill us with much good cheer…

Visits from artists and kids and fun actors,
Touring to Cape Town and Cambridge and Tilbury,
Red velvet boxes with treasures within,
These are a few of our favourite things…

When the rent comes,
And the bank shouts,
When we’re feeling sad…
We simply remember our favourite things,
And then we don’t feel so bad
!

Very happy Chrismahanukwanzakah to you and yours! We’re looking forward to a rest over the New Year, and what fresh mischief we can make in 2020!

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commission company news

New Commission: The Tower of London for Historic Royal Palaces

Turns out the Tower of London is literally one of the most inaccessible cultural highlights on the planet. That’s because it’s the Tower of London: Fortress, Palace, Prison.

This presents the Community Engagement Team with a particular challenge: how can they help people understand what a visit might be like? Particularly those who are local? Obviously, the Tower is a huge tourism hotspot, but there are also Londoners nearby who have never visited, and are unlikely to because it’s difficult to access, physically, financially, and culturally. Enter our new Collection, developed in partnership with the Community Engagement team at the Tower, and in particular, Jatinder Kailey. We have created a Collection that explores the three historical themes of the Tower, exploring its existence as a fortress, a palace and a prison. We were also able to repurpose quite a bit of audio that the Tower had produced previously for other contexts, which was good.

This is what the postcards look like:

Being an Aussie, I particularly enjoyed contributing research and copywriting for the 18 postcards in the collection, studying a bunch of the stories and characters from within the walls, either living there by choice, duty, or force. As I researched, I learned how many people have had been beheaded there, which gave me an idea for the custom container we built to hold the Box and the Collection. What if the Box looked about the size of a head? Grey on the outside, blood red on the inside!

We enlisted the considerable talents of our Maker of Special Things, Takako, who made a beautiful container fit for a King’s head. We supplemented the Collection postcards with some replica objects, like a giant diamond and a coronation anointing spoon, and wrapped everything in red velvet, which usually makes anything way more fun.

Now, Jatinder is reaching out to local groups in the community to visit them, and share the treasures of the Tower with folks for whom a visit is difficult, and we can’t wait to see the results!

It was also a pleasure to drop it off in person at the Tower. What a thrill.

OFF WITH THEIR HEAD!

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company news

Abira Hussein joins the Museum in a Box Advisory Board

We’re thrilled to announce that Abira Hussein has joined the Museum in a Box Advisory Board. 

We first worked with Abira back in 2016, when we assisted in developing the “Healing Through Archives” Collection, which she took around to lots of different community spaces and educational settings. It was a brilliant and fun project, gathering and presenting stories told by older women in London Somali communities, and combining them with photographic, sound and music archives from the British Museum and British Library. It was also really our first foray into the development of a Collection where objects were described by people who had used or experienced them, and described in the ‘mother tongue’ (instead of a Professional Expert). Since then, this work has blossomed into her award-winning NOMAD project, developed in collaboration with Mnemoscene.

Abira is a seasoned public speaker and seasoned academic, now undertaking a PhD at UCL entitled The Archive and The Community: using digital technologies and participatory approaches to co-create new archival spaces and knowledge within Somali communities in Britain. She’s also an Associate Producer at All Change and a Research Associate at Culture& and King’s Digital Lab!

She’ll bring a new dimension to our Advisory Board, thanks to her wide-ranging network, expertise in developing social impact projects, deep familiarity with the UK/EU funding landscape, and her reputation and ability to speak truth to power. 

Abira joins our other fantastic advisors: Gill Wildman, Nick Stanhope, and Ben McGuire.

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brain company news design

On the ground at HQ – our 100 Box run is coming together…

It’s been a while in the works, but things are looking very good to build out our biggest run yet: 100 Boxes!

It was our goal this year to figure out how to make 1,000 Boxes, and, well, even though we’ll probably only build 100, that work has allowed us to understand and have a way forward to making Boxes much, much more quickly.

The Skull

Charlie has done the lion’s share of the work associated with making the “skull” or exterior casing of the Box even better. The shape itself has been simplified and optimised so it’s much quicker to assemble. We were lucky enough to have a hardy bunch of volunteers from Verizon Media help us build 100 skulls in a day a few weeks ago. The first time we made skulls, it took about a day to make three.

At the end of the day, you can see 100 skulls made!

The Brain

The Brain is what we’ve always called what’s inside the Box… the electronics. Here is where we’ve done a ton of optimising… and revealing the tech. Before, we would have gathered all the various electronic components from all over the place, from wires to resistors to washers to everything. We assembled them by hand here at HQ.

But now, we have our very own PCB design, largely laid out by Adrian with a few design touches from me, and it’s a thing of beauty, and, importantly, not made by us, but by trained professionals at European Circuits.

George holds the new design in her hands for the first time!

And here’s Charlie turning it on, mere moments ago.

The very best part is that we’re still on our production schedule track to make the 100 Boxes next week, and then SELL THEM ON THE INTERNET.

We have our shop online now, at shop.museuminabox.org, so if you’ve been wanting to buy a Make Your Own kit, or a Museum in a Box tote bag, or even our Greek Gods & Goddesses collection (although you’ll need a Box to play that), now’s your chance!

Be the first to own one of our snazzy tote bags!

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company news

We’re changing our name a little bit: Ltd. to C.I.C.

When we formed the company back in October 2015 – four years ago! – we opened up as a stock-standard company limited by shares. It’s something I had done before – in 1998, in Australia – and a system of governance I am much more familiar with than, say, a charity.

Part of our raison d’être was to do good and make money, and we’ve always had a commercial bent, as our few years of successful commissions with our partners attest. We had also – somewhat naïvely in hindsight, I think – presumed that we could join the ranks of those working towards venture capital investment, but that never felt like a good spiritual fit, and I was always discomfited by conversations with finance folk who were pressing us for the now-conventional strategy to scale, scale, scale.

I think this fetishisation of scale is really destructive and actually antithetical to building a real, profitable bricks-and-mortar business. The ease with which one can scale up a software service cannot be mapped on to a business that makes things. But, that’s another blog post for another time.

The official record!

The thing we wanted to tell you is that we’ve become a Community Interest Company. We got the certificate from Companies House this morning.

If you squint at it, it’s basically the same as a company limited by shares, except there’s an asset lock in place (so if we go under, our assets are passed along to another CIC), and our social purpose (getting cultural education into hard-to-reach places) are now enmeshed in the company’s articles of association. Our purpose is also no longer individual shareholder profit (and frankly, it never really has been, actually), but to state that overtly feels good.

We’re very happy to re-emerge as one of about 14,000 Community Interest Companies in the UK. It’s fun to watch the list of last month’s new registrations… feels like the right crowd to mingle with. And let’s just say we’re eating lots of Celebrations at HQ, and a special thank you to Bee Kelly, who’s volunteering with us at the moment, and helped push through the paperwork.

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company news myomb

What’s this? A new online shop opening soon?

Yes, that’s right! We’re busily preparing ourselves to sell our new Make Your Own kits online! We hope to open up the shop before the end of the year so we can send out early sales before Christmas. It’s exciting to know that some of the kits are already spoken for – headed for a teachers’ association in Spain, and a museum at Harvard, and more places!

outline of the four kits on offer

There’s more info on our new Make Your Own info page, and if you’d like to be notified when we launch it, please sign up for our newsletter!

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company news

WANTED: Django+Shopify Developer (ROCKSTAR WOLF)

Illustration by @ritwells

THANK YOU FOR YOUR INTEREST IN BECOMING OUR ROCKSTAR WOLF. THE POSITION HAS BEEN FILLED.

Location:
Anywhere in the world, collaborating with a UK team (GMT)

Contract:
We are on a tight deadline to deliver our online shop in early/mid November so will consider any working patterns which help us deliver this. Your work to build our online shop will provide the income we need to keep you on!

Deadline:
4 Nov 2019 12:00 GMT


What’s the job?
We are an educational technology social enterprise called Museum in a Box. We bring museum objects and their stories directly into classrooms and into students’ hands anywhere in the world. From Egyptian archeology, transatlantic slavery, to explaining how the justice system works, we work with major insitutions such as the V&A and Smithsonian Institution to bring the curriculum to life. We’re also working on a Make Your Own kit version, too – a method for students (or families or organisations) to create their own collections, learning all sorts of cross-curricular skills as they go, and we’re launching a Shopify presence as soon as we can.

The Box itself is powered by Raspberry Pi, running a Node.js app to manage interactions, media and simple usage data, and we have a working Django web application that already manages users, collections, boxes, and other bits and bobs. We already have users who are making their own collections remotely too.

We are looking for someone who can primarily integrate Shopify with our Django web app.

We are a team of designers and programmers, and a growing crew of freelance creatives. The big gap that this position would fill is bringing two separate services together so Box and Kit sales can be easily managed by staff, and also easily configured by folks buying kits. We expect to do this work manually to begin with, but you can definitely help with that, and hopefully, you’re the type of person who loves throwing great software solutions at tedious manual workflows!

In the role you will:

  • Lead on ensuring Shopify is fully integrated with our existing Django web platform.
  • Add a Django-based user forum to our web platform.
  • Add a short list of new features to our web platform to accommodate group operations and group Box ownership

The ideal candidate will:

  • Be fluent in Django/Python/JavaScript.
  • Have at least three years professional engineering experience.
  • Have programmed a Shopify integration previously, demonstrably.
  • Have worked on a demonstrable web application used by more than 1,000 people. 
  • Have an active Github presence.
  • Enjoy UX filigree, both conception and execution.
  • Likes showing rough working software in progress.

About Museum in a Box Ltd.
We’re a small company based in Hoxton, London. Our mission is to help museums increase access to their collections and help put culture into hard-to-reach places.

We are updating the idea of museum handling collections with 21st Century tools like 3D printing, Raspberry Pi, and great stories combined with multisensory interaction design.

There’s a lot more information on the web:

How to apply
Please send us a one-page cover letter explaining how you meet the role requirements and your resume via email to info@museuminabox.org with the subject ‘Django+Shopify Rockstar Wolf’. Links to online projects/code are expected. We are a small team and cultural fit is very important for us so use your application to help us learn more about your interests, passions and ways of working.

THANK YOU FOR YOUR INTEREST IN BECOMING OUR ROCKSTAR WOLF. THE POSITION HAS BEEN FILLED.