Journal - Practice of Learning

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Starting the Booklet - Front Page, Title and Short introductory

To start the activity Backpack i took first in consideration the first steps of the booklet.  First of all i thought about a title for the activity backpack → "Exploring the seas" (maybe change for another one? still not sure). 

The front page of the booklet will have the Junk boat and i wanted to illustrate something in the design that will appear the boat is travelling in the sea.  So i started working trough ideas for the front page. 

Fig. 1 Possible Ideas for the front page of the booklet 

After consider this ideas i realized that it wouldn't work properly to capture children and their families attention. 

Fig. 2 - Design of Waves used for front page

I search for different types of waves designs that could be used in the front page and i used this one. I edited the image in Photoshop, using only the part that interested and changing the color a bit. After the front page i started the pages for the short introductory sheets, as it is explain in the V&A guidance notes. (aim; what will be achieved; where to start; how many activities; make it clear that everything is inside -materials and instructions -;  ask to replace and return back; suggest time to return )

This short introductory need to make clear for the parents what its being offer and it must be clear and easy to read ( and with little writing as possible).

After the introduction, the activities take place. I have some ideas i want to develop. ► I want to use the senses that the exhibit provides ( smell of the spices and touch different textiles) and maybe use that material and combine the activity backpack with one another. (maybe use something in the backpack that can illustrate the tea ?); ► explain the different instruments that were used to travel by the sea (compass, astrolabe, telescope, etc.) and explain by using the ones in the exhibit; ► There is a part of the exhibit where they refer something about Chinese writing → maybe do an activity where they can write something with Chinese character ? ( Chinese writing is very complex.. maybe some sort of symbols that can they can use just to "make believe"). 

REFERENCES:

Sea Wave Pattern Vector Illustration - 153646619 : Shutterstock. 2014.  Available online at: http://www.shutterstock.com/pic.mhtml?id=153646619&src=id.

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Starting the Booklet - Junk boat for front page

After looking at some activity backpacks in museums i am going to base my backpack idea on the "Time Traveller " V&A backpack and with the V&A  guidance note for designing activity Backpacks for families. 

The guidance notes that the V&A talks about in the article are used in theirs own activity backpacks.

Fig. 1 -  Time Traveller booklet of the activity backpack of the V&A museum. [Author’s own image] 

So after reading the guidance notes i started developing my ideas.  Because i am doing the Traders Gallery i was thinking about doing the front page with and Junk Boat (Chinese boat). Like the picture that is used in the National Maritime museum to show the traders gallery. 

Fig. 2 Picture used by the National Maritime Museum to demonstrate the Traders Gallery - The east India Company & Asia.  [NMM picture]

So after consider this i look for some drawing and illustrations of junk boats i could use, however i wanted to used one that looked like this junk boat. 

Fig. 3 - Junk boats illustrations Pictures for inspiration - [ Shutterstock pictures ] 

Because i wanted the boat to look more like the NMM traders gallery boat painting i drew my own junk boat to have some features of this boat but inspired in this two. 

Fig. 4 The final sketch of the junk boat and the final junk boat edited in Photoshop. [Author’s own image]

After some tries the final result was this sketch, then i tried different ways to color the boat in Photoshop and i end up doing something simple and that shows the black line of the sketch.  This is the final Drawing of the junk boat for the front page of the activity backpack booklet. 

REFERENCES: 

Designing Museum Activity Backpacks for Families - Victoria and Albert Museum. 2014. Available online at: http://www.vam.ac.uk/content/articles/d/designing-museum-activity-backpacks-for-families/.

Traders: the East India Company & Asia : Exhibitions redirect : Visit : RMG. 2014. Available online at: http://www.rmg.co.uk/whats-on/exhibitions/traders. 

Junk Boat: Illustration Of Junk Boat At Sunset. Below Are 3 Additional Simplified Variations. No Transparency And Gradients Used. - 122060356 Available online at:http://www.shutterstock.com/pic-122060356/stock-vector-junk-boat-illustration-of-junk-boat-at-sunset-below-are-additional-simplified-variations-no.html. 

Junk ship Stock Photos, Junk ship Stock Photography, Junk ship Stock Images : Shutterstock.com. 2014. Available online at:  http://www.shutterstock.com/s/%22junk+ship%22/search.html?page=1&inline=188285273. 

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Designing Museum Activity Backpacks for Families

Notes from website that can be useful to begin the design for the backpack:

→ Decide why have activity backpacks

Be absolutely clear about the aims and how you intend to go about achieving these.

Be clear with what the backpack will achieve and what the theme/s will be.

Define the key audience for the backpack to cater for and to attract.

Which part of the collection/s will focus on? Be clear in your mind why have you selected them.

Ensure the target audience finds the selected collection appealing - keep in mind: 'What is a family?' and 'How do they act in the museum?'

What sort of activities the back-pack will contain;

→How much will they cost?

• Producing simple backpacks need not necessarily be a costly operation.  • What will be your on-going costs? This will be difficult to project until the back packs run or at least six months. • Once there are some costings, it might even be worth trying to find sponsors. 

→ Choose a theme

• The theme and content will have to research and appeals the target audience. • Think of a unifying theme or storyline that concentrates on a certain collection or collections. • The title of the backpack is very important, as it will help sell it. Having words such as explorer, detective and collector in the title will give a flavour of what the pack is about and adds a context. • That the starting point must always be the collections, the objects themselves must dictate how the pack is put together.

→ Developing content

• Develop outline activities to test. These should link to specific objects in the collections and need to be engaging, intriguing and relevant. • Make sure the activities are of different types, and suit learning styles, (e.g. trying on replica garments for experiential and imaginative learners, creating a story for imaginative learners).

► Some hints

Weight of the backpack cant be not too heavy.

If there are three or four people doing the backpack, then it is going to take three or four times as long to do each activity.

Parents need to know immediately what you are offering them - include an introduction sheet for the adults who are accompanying the children.

There should be as little reading and writing as possible.  Text should be simple and straightforward and activities should be almost self-explanatory.

Try to ensure that questions and activities are open-ended enough to allow for personal interpretation of objects - too many instructions can limit this.

Aim to have about five activities to do. It is better to have the user successfully complete the backpack and want to try a different one, than not complete it because it took long, and be put off trying another.

Make sure there is something on offer to the youngest or least able in the group (e.g. colouring sheets and crayons for toddlers). As soon as they get bored, then the rest of the group might have to stop too.

→ Design

Once you have selected your activities, you then need to decide how they are going to be presented:

Have something put on your backpack, so it is easily identifiable as belonging to the museum. 

Aim to have the content of each activity in its own numbered or labelled bag/pouch. This way it is obvious which activity is which.

For trail-based activities there will need to be a map showing which part of the museum is and how to get there. (part of a booklet or leaflet - explains what to do, where to find the objects, and which object links with which activity. 

The information you provide needs to give the user confidence in using the backpack  - information needs to be clear and easy to read. 

Provide a short introductory page or sheet to cover the following points:

About the back-pack: aim what will be achieved

Where to go: where to start route to first gallery if applicable

What to do: how many activities make it clear that everything needed is inside, including materials and instructions ask borrower to replace activities and return back suggest pack is returned within a time from picking it up - e.g. 1 hour

Provide more detailed information to introduce the theme or nature of the activity, followed by instructions and illustrations for each one. Remember, though, there should be as little reading and writing as possible. Text should be simple and straightforward and activities should be almost self-explanatory.

It should look attractive and be appealing to the target audience. 

→ Marketing

How are you going to let people know you now have backpack?

If you have mail-outs, museum leaflets, or e-newsletters then they can be promoted through those. A short item about a family or other visitors using and enjoying your backpacks would give you good publicity.

You could consider giving out badges to visitors who have done the backpack with a suitable slogan and the name of your museum.

REFERENCES:

Designing Museum Activity Backpacks for Families - Victoria and Albert Museum. 2014. Available online at: http://www.vam.ac.uk/content/articles/d/designing-museum-activity-backpacks-for-families/. 

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Week 9: NMM: Audiences

Presentation of some projects to the museum to get some feedback.  _____

► Birthe Christensen - Head of Conservation  Introduction to Conservation

• Conservation is the action taken to arrest further and to make an object understandable with minimal propose- extend their life expectation. • Usually interpret the collection; manage risk in and to the collection; ensure they can be access and enjoyable.  → When conserving or restoring some object do they keep in mind he reversibility of the material ? Does the Object really need to be enjoyable and not only "safe" . Why does it need to me enjoyable (?) why not recognize the ageing process ?

____________________ 

► Rest of presentations of the other part of the class.  • Feedback for the presentation  - Submit a real backpack (?) - Keep in mind the care and skill for the booklet  - Design the real backpack - "snif; Touch; fell" → What can i put in the backpack - With Diana idea with Oriental Teas for the traders gallery i could make a reference in the booklet - "taste"; - Target audience - 18% families with children from 7 - 12.  - The ship simulator and children galley is a play ground; Free space non interactive map; Labels in the children gallery (big with a lot of text)

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Week 8: NMM: Progress Presentations

 Structure of the Session ►Introduction ► Talk - Alexandra Calton - Buying and Merchandising. ► Talk - Claire - Exhibition Interpretation ► Talk - Guest speakers - Giorgio Garippa & Oliver Palmer - Sailing Desires ► Students Presentations _________________

→ The commerce department part of the commercial division. The commerce team → admissions & booking; catering; commercial filming & events; licensing; photographic studio; picture library and film archives; publishing; Retail; Buying & Merchandising. 

► Talk - Alexandra Calton - Buying and Merchandising.

Buying:

• Range development & Buying (product sourcing); • Product development & design; • Range building; • Identify trends and opportunities (Attending trades fairs); • financial awareness (preparing and analyzing sales report, setting margins; responding to sales patterns); • Supplier management (negotiating on cost prices / orders quantities); • Meeting with suppliers; • Briefing on new products;  • Giving feedback on products (design); • Collaborative working (communicating regularly with shop team); • Customer feedback; Product information; • Exhibition; Curatorial; Marketing; Press; Publishing; Photo studio ... 

Merchandising:

• Stock Management → reordering; transferring stock; collocation and target stock levels; Managing Stock holdings; Pricing Architecture; Managing cost price increases and margins; Feeding back to buyers in discontinued products; •Financial Reporting → preparing and analysis sales report; producing sales forecast; responding to sales patterns to increase profitability; Understanding sale an RPI performances each shop to ensure the right stock levels to product sales; Producing financial tools for buyers such as target visitors; • Supplier Management → negotiation on cost prices, quantities and delivery dates; forecasting sales to ensure future stock availability; Resolving Invoice Inquires; • Promotion Planning → Implementation seasonal promotions; managing discount structures and promotional sales; ensures maximum profitability by clearing stock as required. 

Heritage Sector VS High Street • variety of products; visitors; commercial and non-commercial functions working together; inspired by exhibitions / collections / heritage;  •Be seasonal

► Talk - Claire - Exhebition Interpretation

→ Who, What and why? 

• Public programs and exhibition Division;  • Part of learning & Interpretation team; • Generates rather than academic specialist; • Work on permanent galleries and temporary exhibition; • Work across the institution andbutib began;

→ What we do ?

•  Why are we here ? → Put people first; translate academic expertise into a public space; work with designer;  Think about how to use objects and when not to; To consider the best methods to convey messages; to work pragmatically. 

→ What challenges do we face?

• understanding complexity of audiences; • understanding museum as different kinds of spaces;  • working across external and internal teams; • issues of authentic and expertise; • Not "dumping down" practical constraints -  money, time ... • Balancing conservation needs for objects with audience needs. 

► Students Presentations

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Week 7: NMM: Interpretation : "Learning is" at the NMM

Structure of the session: ►Introduction ► Group Presentations. _____________________

► Interpretation - Communication ?

• Canada Interpretation of interpretation

"Heritage Interpretation is any communication process designed to reveal meanings and relationships of cultural and natural heritage to the public, through first-hand involvement with an object, artifact, landscape or site."

• UK Interpretation of interpretation

"Interpretation is primarily a communication process that helps people  make sense of, and understand more about, your site, collection or event."

→ Where the interpretation takes place ? ".... in the space between object and label". _____________________

→ Groups presentation. 

After presenting my idea to Helen she gave some points that we needed to have in mind. 

• The presentation is only 5 minutes. •Issues for the project: → How to get to parents? → How will it call more people ? → how does the museum engage with international visitors? 

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Research for the Idea.

"learning is..." → ( doesn't need to be the title)  • Help communicate idea of an aspect of learning at the National Maritime Museum.

The idea 

→ Activity Backpacks in Traders Gallery

• Museum doesn't need to be a "playground" / "fun fair" to be fun for children.  • Put reviews found on trip advisor (exhibit not fun for children; digital "stuff" not working ..)

• Explain why do this type of activity? → engage with children in the exhibits; • Improve the exhibits - not separate children from museum. 

• Activity Backpacks → engaging families. → Backpacks can be used to target a variety of different audiences (families, schools, informal groups, adults etc.) •Give a voice for families about what works in a museum for them. • Museum should tell the story of our relationship with the sea → make it fascinating for families ans children. 

► Engaging Families - successful family program • create "sticky" memories; hands on activities; • no screens and buttons; engage with parents. • Provide a smorgasbord of experiences (create exciting experiences designed for all ages and learning styles) • Send families in a quest (provide families with and opportunity to work together to collect and solve a mystery). 

• "Portable Education in Museums" 

• Backpacks → activity booklet to help children make discoveries around the museum galleries.  • Fun time and learn something ate the same time. 

REFERENCES:

Family Learning Forum | Museum Exhibit Resource | Visitor Evaluation Project - Programming. 2014 Available online at: http://www.familylearningforum.org/programming/programming-tips.htm. 

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Gathering information

I email Anna Salaman - Head of formal learning to know what the museum provided for families that wasn't digital.

My email:  "Sorry to bother you, but i am thinking of doing my project something that will allow children to enjoy some exhibits. I know the museum has activities during the weekends and activities for school, but does the museum have anything that can handout to children like an activity sheet or handouts?  The museum has amazing activities for children but in some cases if families want to visit some exhibits that are not very "fun" for children how does exhibit engage them in this situations ?"

Anna replyed to me where she said 

"The Museum does, indeed have ‘handouts’ for children and families. Over the years we have put together a huge variety of trails and self-led activities to help bring some of our more adult-focused displays to life. If you follow this link, and then look at the individual sessions available for schools, you will find links to examples of our current self-led activities for schools. Very happy to send you hard copies if you’d like – just let me know" 

No link was attached to the email. Then the Family Learning Officer - Kithmini Wimalasekera replyied:

"For families we have moved away from offering self-led activities like hand-outs or trails because our main funders changed from counting this as learning to not. However this is an example of a family trail that was designed to help families make connections between the Museum, Trafalgar Square and ‘Nelson’s Ship in a Bottle’ by Yinka Shonibare, it was supported by the Art Fund http://www.rmg.co.uk/sites/default/files/media/pdf/Summer_kids_trail_download_0.1.pdf ."

Fig. 1 - "From Museum to Trafalgar Square" Handout [Print screen to the handout]

why ins't it consider learning anymore? • This handout it doesn't engage families withe the exhibits (and o complete it they need to go to Trafalgar square, and that is improbable to happen); • Overall very black and white and with very information; • A good handout has to catch them right from the start.  • I don't see many families visiting the exhibits • Children just stay in the great map and children gallery, but they need to have fun in the other exhibits and feel comfortable in there.  • Understand the value of objects and the utility; • It is important for children to be comfortable in museum environments since an early age (to promote future visits, and "educate" future generations), however they need to be familiarized with all the exhibits and facilities that the museum has to offer - especially make them feel welcomed and able to learn in different places of the museum. 

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Self- directed research in the NMM

Field Notes from the museum. Using "Visiting and evaluating Museum" Standing; observing and writing

► Public Areas  • Learning space hard to find, it was the first time i notice it (need to be more explicit) • learning space only works in some occasions; Sundays for families and museum club half term week open. •Activity that was being done in the half term day → recreate a painting in the own way; point of view. 

Fig. 1 - Works made by children in the activity of the Learning space  [Author’s own image]

• Maritime museum → is it a comfortable place ?; big open spaces; not very cozy; a bit confusing.  • Light in the museum not very good, a lot of natural light, but when the weather is bad and the hours changes ( gets dark earlier) it not a very comfortable place visually.  

► Displays and Exhibitions

• Not many children activities and some of them are not working (most of the activities are digital)<

•Re think space → focus mainly in the nelson ship; Papers to leave comments ( a lot of them focus in pirates). 

Fig. 2 - Example of the paper to leave comments - one in particular says " You need more games for kids" [Author’s own image]

► Children's gallery • To get there we need to walk trough everything. Not easy to find and to get there → need to be more explicit; • Very small labels ( small font) and with too much information → children won't reader if it is not appealing.  • The ship simulator was crowded ( a lot of people waiting) and it wasn't working properly.  • The news iPad for surveys weren't working properly.

• There are a lot of thing that don't look like we are in a museum but more like a fun-park. → there should be a half term. → there should be more activities that don't rely on digital devices. → Try to make every spaces comfortable to everyone and not separate visitors from different ages. → make the museum welcoming for everyone. 

→ How to make exhibits more fun for children and engage them in the exhibits ? How to make them know that they have other places to visit and have fun in other places rather than the great map; children gallery.... ... 

→ Search activities for children in the Maritime Museum.

REFERENCES

KAVANAGH, G, visiting and evaluating museums, department of museum studies, university

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Set Text - Participation Observation

Participation Observation → central and defining method of research in cultural anthropology.  • Spradley (1980) used the term to refer to the general approach of fieldwork in ethnographic research • Agar (1996) used the term for all the observation and formal and informal interviewing in which anthropologists engage.  

→ The method of participation observation includes the explicit use in behavior analysis and recording of the information gained from participation and observing.  → Participation Observation is a way to collect data in a relatively unstructured manner in naturalistic setting by ethnographers who observe and / or take part in the common and uncommon activities of the people being studied. → the practice of participant observation provides two main advantages o research. First it enhances the quality of the data obtained during fieldwork, second it enhances the quality of the interpretation of data. Participant observation is thus both a data collection and an analytic tool.  → Field notes are the primary method of capturing data from participant observation. (...) by writing field notes is virtually the only way for researcher to record the observation of day-to-day events and behavior, overheard conversations, and casual interviews that are the primary material of participant observation. 

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Week 5: NMM: Audiences

Structure of the session: ►Introduction ►Talk - Gail Symington - Head of Exhibitions ►Talk - Stephanie Stroh - Theatricality and Embodiment in Post Museum Practice ►Participation Observation ► self directed research in the museum __________________________

 ►Talk - Gail Symington - Head of Exhibitions

• Target audience → 0 -7 years old and their families.  → make the experience enjoyable to have comebacks • A project that can make the experience more enjoyable;

•Master planing → Objectives. Ship + Ocean = Nation • New children gallery; ____________________________

►Talk - Stephanie Stroh - Theatricality and Embodiment in Post Museum Practice

• Maritime museum → visitor research → narrative that capture the museum; story that tells the museum

• Post Museum → modernism museum; as a shire a colonizing space; a market driven industry. • Visitor and experience → post museum → as a experience; Performance of the sea. • Navigation → art of wave → find a way to observation and reaction and experience. 

Museum as a part of the world.  _________________________

►Participation Observation

• Visitor studies → behavior; mapping; counting → audience segmentation; questionnaires (very important to know visitors thinking). 

• non visitor surveys → importance of the research of the non visitor reflexive / critical → behavior

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Some Ideas for a project

After the lecture with Anna Salaman about learning in the maritime museum and the lea true with Trish Thomas I realised that this two subject really interested me to the project. I have some ideas that wonders around the leaning experience more for teens / young adults. I realise that the museum have little digital information that is fun and interesting for the learning experience outside the museum ( the compass wasn’t working properly ). I was thinking more like an app or a digital experience that can be provided to this age group. I really like the idea of the great map … Maybe something that can be provided with interesting information and not so childlike.

I had the privilege to be apart of the website research interview and it was a great experience to brainstorm ideas on how a good website should provide and should appear. However this leads me to a more digital approach for the assessments and where should I begin?

However a learning experience for different age group it is a really complex area also…

After the lecture with Amy Miller, the curator of decorative arts, her passion towards the object really put me focus in everything. The story behind the objects and not only what they represent but where and when and who and how the object can gives us until the present day it can be very interesting for many people. Maybe an temporary exhibit or an app that can gives up the “other” part of history of the object it would intrigue and interest a lot of visitors.

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Visiting and evaluating museums

Notes from text. visit the museum while thinking about this. -Location Where is the museum?; is it easy to find?; are there any signals?; other facilities/attractions in the area?; what are the surroundings of the museum? - The Building What tells us it is a museum and do we know from the outside what is happening in the inside? How old is the building and why does it look like it does? Is type of building type is ( purpose or adapted) ? What impression the exterior give us? Is it a suitable building for a museum? Qualities and flaws ? - Entrance The entrances available are welcoming/ inviting ? Is it easy to find the entrances? Are there any restrictions on access ( disables persons and buggys) Do you fell welcome when you get in ? The facilities and objects provided for visitors (loos, first aid, wheelchair, shops, cafe, etc.) in the museum are understandable and easy to reach ( maps and signs, information points what is offered) ? - Organization Who is the director and what is his/her background or specialist interest? How many people work in the museum ? What is the atmosphere like and does the staff gave a positive attitude towards the muse, and it's service ? - Governing Body How is the museum constituted and how is it governed ? - Collections What/ why does the museum collect and when? How decide to collect? How are the collections housed or organised ? How much of the collection is catalogued? - Public Areas What impressions do the public area of the museum give us ? Is it evidence that the museum cares for the visitors? How difficult it would be to evacuate the museum in a major emergency? - Displays and Exhibitions What are the main displays and exhibitions ? What are the messages ? Is it a fresh approach? How helpful are the labels ? For whom are they written and do they answer your questions ? Are there interpretable aids? Are there facilities for temporary exhibitions is yes, what are there programs? Does the display and execs biting work of the museum cater for different sessions of its audience ? Who comes to this museum? Why? Who doesn't come back to this museum? Why? - Education Is there an education service? Is it clear in the entrance or in the galleries? What roles does it have in the museum ? What do they provide for children of difference age? Is this museum working with elderly, outlying communities or local groups? Is there an education room? How well equipped? - Visitors Services Does the museum encourages enquires ? How many do they have a week? What does it publish ? Is this museum a comfortable place to be ? Can you take your time? Interrupt your visit to relax? Do you Want to be here? Would you return? - Evaluate - What can be learned from this museum? What are its merits? What are the flaws? REFERENCES KAVANAGH, G, visiting and evaluating museums, department of museum studies, university

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Week 4: NMM: Public Engagement

Structure of the session: ►Introduction ►Talk - Anna Abbot - Head of Marketing ►Talk - Amy Miller - Curator of Decorative Arts ► Tours of Card Library ► self directed research in the museum _________________________

► Public Engagement → planning and development for children and families as part of its wider strategy for public engagement.

► Talk - Anna Abbot - Head of Marketing • Our mission "sea, ships and stars and their relationship with people" • Our aim - Reach; Revenue; Reputations;

• Marketing & Web → brand; audience; research & development; campaigns; advertising; website; partnership; promotion; social media & digital marketing; • Audience and visitor Research → quantitatively surveys (visitor selected random - short questionnaires); Ipad surveys (special exhibit galleries, general venue feedback). • Current visitor demographics → 45% overseas; 16% UK; 33% London; more 13% /  14 %; • Why are they coming → bordering horizons; learn; tick box; etc. • Audience Research → divided into distinct groups of people - similar attitudes and needs; Why → understand how our audiences break down in terms of different motivations; need and behaviors / increase understanding of both current and potential future audiences; Inform how we engage with and grow distinct segments  / all aspects of RMG's offer.  • Core day Trip Audiences → Cultural omnivorous; tourists; theme interested; etc.

Current VS New Audience • Explore & Discover; High Cultural; Boarding horizons ( existing core audience to consolidate - hot audience). • audience segments → see what type of audiences we want to reach in our work;

• RMG → Digital Universe → Social media (facebook, instagram, twitter, social referal; offline referal; email referal; youtube; pintrest; blog; etc).

• Website Research Project → aims → create devise responsive; website and improve user experience; positions RMG as a "destination"; Maximize opportunity for driving visitor numbers income generations.  • Business Objectives → buy tickets online; Drive secondary spence; buy membership; subscribe to e-updates; join social community; become an advocate; donate access to the collection; share the collection; Online tickets sales (advantages - customer data - potential to build relationships; confirmed advance sales; money into businesses earlier). • User Center approach → mix of quantitative and qualitative research; online surveys; Depth interviews; Task - bases usability; - trend 1: mobile usage; trend 2 - rise and rise of research; trend 3 - filling attention spars. _____________________

► Talk - Amy Miller - Curator of Decorative Arts • Working with Objects;  • Museum without Objects / it is the selling point of the Museum;

• Collection - family → how lived until 1911 in the observatory.  Look at the object itself to see what "they" are telling user.

• Personal element of the individuals → personal story • Objects we look at them we can know about people themselves and information we didn't have. → always be approach with extreme caution (objects). • Objects are very interesting to know - the story behind it. Objects have a story/ history it self. ____________________ ► Caird Library Introduction to the library: Gareth Bellis, Library Manager  

In this introduction Gareth talked about the new facilities, what the library has and the overall functioning of the library.  The library has two study areas , one for a group study and an another for quiet study 

The museum has an amazing maritime archive where in this collection has rare manuscripts, books, charts and maps since the 15th century. In this introduction Gareth explain how we could research and access everything of the collection.

After this introduction we went to the computer that the library has and apply for a reader ticket that would allow us to used the caird library and archive that allow us to access and research the museum collection. 

Fig. 1 - View of the study area, Caird Library, National Maritime Museum © National Maritime Museum

REFERENCES:

JISCMail - ARLIS-LINK Archives. 2014 Available online at: https://www.jiscmail.ac.uk/cgi-bin/webadmin?A2=arlis-link;ab3dca5b.1202.

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Website research interview

On the 16th of October the class receive an email about an opportunity that the Royal Museum of Greenwich was giving. The museum is trying to update the website and they were looking for someone to interview to contribute to the user research website. I applied as soon as i read the email and got the opportunity of the interview.  As discussed in the previous class, the website of the museum is not at all attractive and very confusing. If the museum experience doesn’t end in the museum and should continue with the website, how this is possible with a malfunction museum?

Before I went to the administration office of the Maritime Museum, I had sometime time to kill and I lunch on the site and walk a bit around the site. It was a sunny and lovely day and I really appreciate the site of the maritime museum outside class and found this place really relaxing. There wasn’t many people in the surrounding and it was vague cold breeze that almost reminded me of the seaside in Portugal in the winter time. It was very pleasant surprise and it relaxed me for the interview.

When I arrived to the administration office I waited for a few minutes for Allen O’Leary and then he took me to a room where the interview would have place.

The interviewer was a web designer were it begin to ask question about what I think about the website and the looks of it,  and what would I like to see and contain etc. This interview lasted an hour and it was a very good experience. I brainstorm with the designer for some ideas that the website should / could have; the visual content; etc. I gave my opinion about the compass activity in the Maritime Museum, that wasn’t working and I refer that the museum experience should not end in the museum, and continue with the website, and for this everything should be functional. The website should give curiosity to the public with the out coming events; maybe some games and activities for children in the website (where they visit to play, and ask parent to go to the museum), etc…

I left the museum very excited and with new ideas for the assessment, but after thinking a bit more about it I don’t know if some ideas were right.

I was thinking about doing an app for smartphones and iPhone that would enable adults to have an interactive experience in the great map. An app that wasn’t childish and it that it needed to work well. However after thinking about it - do this really work? In busy days children will be there and adults won’t feel comfortable to have a good time there. (?)

I also think about a new logo for the Royal Museum Greenwich. Where it would incorporate the cutty stark; the sea; the queens house and the observatory. I was thinking about a man on the cutty stark in the sea; where he would look at the horizon with his binoculars (ocular?) surround by see. And at the end he will see a mountain with the queen’s house and the observatory by his side pointing to the Stars.  I liked this idea but is it really necessary? And how does this apply to learning? And this is a project for the Museum of Greenwich and not the maritime.  This are my main ideas, I still have other but I still don’t know what to do and where to begin and turn to.

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Learning and Interpretation: vision and Strategy 2012

Notes from handout

Learning and Interpretation: vision and Strategy 2012

The Vision → NMM mission statement

• “to illustrate for everyone the importance of the sea, ships, time and the starts and their relationship with people”

→ NMM vision • “that the NMM will be recognized as a place and organization of excellent – the best in class”.

→ Learning and interpretation team vision: • we bring Britain maritime heritage to life for everybody by crating inclusive learning experiences that centre on people: stimulating personal connections, exploration and dialogue.

→ Unpacking the vision

• Bringing Britain’s maritime heritage to life for everybody – deepen people understandings of their national, local and personal identities and strengthen communities; ensuring participation and leaning to the museum become a fully accessible and inclusive organization; team committed to explore ways to engage people enjoy their experience (whether formal education or learning informally).

• Centring people – successful museum experiences will enable people to learn on their own level and pace, taking account of their learning preferences and personal interest.

• Stimulating personal connections, exploration and dialogue – stimulate curiosity as a trigger for discovery and learning. Curiosity is the process of finding and creating meaning in novel experiences. To stimulate curiosity: personal connections to existing knowledge; active exploration as an engagement tool; dialogue provides the process for meaning making; immersive environments lead to a more memorable experience.

→ Aims

• Maximise the learning potential of the site, collections and themes;

• Devise a coherent approach to understanding, developing and advocating for audiences;

• Develop Creative Practice recognise internally and externally – both evidence bases and innovative;

→ Audiences

• Schools and children, families with children 5-7/7-12 (?);

• Why are they important – increases museum value to society schools visit when other audiences cant outcomes contribute to reputational excellence; Builds local audiences and increase ownership; increases repeat visits, generates income in café and shop;

• What RMG does for them – meaningful learning opportunities linked to the curriculum; provided social space and quality time?;

→ The core principles

• Team definition of learning “Learning is a process of active engagement with experience. It is what people do when they want to make sense of the world. It may involve the development or deepening of skills, knowledge, understanding, awareness, values, ideas and feelings, or an increase in the capacity to reflect. Effective learning leads to change, development and the desire to learn more.”

→ Vision of the Team about learning:

• “To provide learning opportunities for all, museum, archives and libraries must explore learning and access rather than in isolation”.

→ Definition of access

• “barriers to access may be physical, sensory, physiological, emotional, attitudinal, financial, social, educational or cultural” (DCMS); • Access is defined as: enabling the removal of barrier between the collections and all members of the community, including physical, sensory, intellectual, cultural, financial and attitudinal barriers.

→ Team believes that:

• People learn best when they are active in their own learning, making choices and taking decisions or learning through play and investigation; • Learning in museum is largely social and collective and understanding grows through dialogue;

→ Strategic user outcomes:

• Enjoy themselves and feel welcomed, respected and supported in their learning; • Feel that they have contributed to the museum as well as taking something away;

→ Strategic organisational outcomes: that the museum:

•Removes barrier to participation; •Has a greater understanding of and respect for different groups; • Is more knowledgeable about people’s needs, how they like to learn and how to ensure access to all;

→ Moving forwards Priority tasks

• Aim 1 – Maximise the learning potential of the site, our collections and themes; Some ideas to consider: facilitate dialogue with audiences; Gallery learning and interpretation strategy; object handling sessions; etc;

• Aim 2 – Devise a coherent approach to understanding, developing and advocating for audiences; Some ideas to consider: Audience development strategy for each gallery; Advisory Groups for each audience, including families and more consulting with children; more links with schools and students.

• Aim 3 – develop creative practice that is recognized internally and externally as both evidence – based and innovative within the learning and cultural sectors. Some ideas to consider: more risk taking, experimenting with new forms of programmes and engagement;

• Aim 4 – Help build the Museum as a positive and flexible organisation through establishing effective systems, working practices and partnerships.

REFERENCES:

Handout: Learning and Interpretation: vision and Strategy 2012 Maritime Museum London March 2012

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Royal Museum of Greenwich, Strategy for Public Engagement

Notes from handout 

Royal Museum of Greenwich, Strategy for Public Engagement How visitors and institutions connect

→ Role – programming and Exhibition Division • Content to engage Target audiences • Needs of diverse audiences • Experiences meets internal and external quality

→ Identify challenges, looking for opportunities - identifying key drivers

• Museum moving to more social and civic spaces → where conversation and dialogue is expected • 21st century approaches:  •Continue to cherish our older audiences but reach out more directly to young adults and families. • “ do more with less” • Visitors think of a quality and relevant experience • We have a responsibility to improve experiences make sure they are accessible for all (the museum must maintain and enhance its reputation as an educational innovate whilst looking for new and enterprising ways to effectually engage).

•  “21st century delivery” – relationship model from engaging with our audiences from “cradle to grave”; • Mixing entrepreneurial and integrity – find ways to deliver a quality that is the best return on investment; • Attracting audiences in a “time poor “society – attractive ways for people to spend their limit leisure time – build relationships so that audiences are regularly participating and not just visiting once in a while.

→ The strategy for Public Engagement • Stimulate curiosity in all our users – the trigger for discovery and learning 

→ The strategy Plan Vision Statement • “ an integrated audience- led public offer, providing unique and authentic learning experiences of the highest quality, that are accessible yet challenging” 

→Mission Statement • “To engage our visitor in the exploration of our collections, buildings and expertise, stimulating curiosity, changing perceptions and transforming lives”.

→ Values • Encourage audience to get to know us – providing opportunities to audiences to engage 

→ Strategic aims and objectives • Putting visitors first; public offer creatively aligned; unique and authentic experiences;

→ Visitor  • Audiences varied and mixed (older audiences to families and schools) • Families and adults – reach out in new ways to younger audiences • Personal connections to our content, delivering programmes and surprising new ways. • Visitors learn through a variety of methods – object rich exhibitions, interactive experiences, face to face, digital and more contemplative ways. • Design for inclusivity – creating new experiences that maintain the highest standard of physical and intellectual accessibility.

Objective 1: audience engagement • Encourages repeat visitation, increasing opportunities for revenue generation. • Increases physical, intellectual and cultural access to Britain’s maritime generation • Ensuring we meet the expectations of existing audiences and the need of new visitors. • Make sure our experience is accessible to everyone; • Something for target audiences at all time

Objective 3: taking ownership of our intellectual territories • Coordinate a “museum wide” consultation putting forward new interesting ideas and approaches to our public framing work. • Deliver special and surprising emotion led “must experience” programmes and projects.  •Promote a creative environment of being open to new models / modes of delivery. 

REFERENCES:

Handout: Royal Museum of Greenwich, Strategy for Public Engagement