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Megan R. Brett

~ historian & doctoral student

Megan R. Brett

Tag Archives: museums

Thinking about digital exhibits

18 Monday Mar 2013

Posted by Megan in Courses, Digital Public History

≈ 1 Comment

Tags

digital exhibits, digital public history, exhibits, museums, teapots

This week’s readings encompassed the idea of digital exhibits. If nothing else, I now think that anyone working on digital exhibits should have on hand a copy of the Curator article “Digital Storytelling in Museums” by Wyman, Smith, Myers and Godfrey, as well as the evaluation section from Krug’s Don’t Make Me Think.

For this post, I am going to take Conn’s title question, Do Museums Still Need Objects? and ask it of digital exhibits. Do digital exhibits need objects? Yes, I think so. However, I also think it’s important to define what we mean by an object. Digital exhibits don’t have vitrines to fill; Most of the time you’re dealing with a two-dimensional representation of any three-dimensional artifact you want to include, unless you’re willing to use fancy code or use a video (not always a bad choice). On the other hand, a decent quality digital image of a document or artwork might make it easier for visitors to see the details or read the very tiny handwriting than it would be in a traditional exhibit. Moreover, we also have video, audio, map, infrared scan, and other sorts of objects to use in a digital exhibit. You could undoubtedly make a digital exhibit without any historical ‘objects,’ but I suspect in that case you’d end up generating your own images or video, which are objects of a sort in their own way. I, for one, think the historical object can still be useful in a digital exhibit.

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H697 Less Myst, More Clarity

08 Sunday Apr 2012

Posted by Megan in H697, museums

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1990s computer games, h697, interactivity, museums, myst, websites age quickly

The readings this week were to explore the website The Lost Museum and read an essay which explains some of the ideas and motivations behind the project.

I read the essay first, because I initially visited both via iPad and didn’t want to deal with audio/video in a public place (I’m unable to wear headphones comfortably at the moment). Even if I hadn’t started with the essay, I would have seen the influence of the game Myst on the exhibit. I can understand way the designers might have been drawn to it as a model: it was an immersive experience, award-winning, stunning graphics for the time. However, I think it was a poor choice of model for a historical game, at least one you’re expecting people to come to without any preparation.

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Week 12: Citizen History

12 Saturday Nov 2011

Posted by Megan in Clio Wired Fall 2011, Public History

≈ 3 Comments

Tags

authority, citizen history, museums, public history

In September I attended the AASLH annual meeting in Richmond. One of the sessions I wanted to attend, but didn’t get the chance, was led by the editors of a recent work titled Letting Go? Sharing Historical Authority in a User-Generated World. If you follow the link to the publisher’s page, you can read the table of contents. Although the book is focused more on the museum community and pubic history, it came to mind when I was reading the articles and essays assigned for this week.

Written history, academic history, often seems to be written with the idea of authority, either in finality or in a closed conversation. One of the apparent consequences of the “professionalization” of history1 has been historians writing and “doing” history for other historians. This is not in and of itself problematic, but it has led to an assumption that everyone speaks the same language and knows (and will follow) a similar set of rules.  Citizen history changes the rules and the language.

Of course, the rules and language were never as set in stone as some would think. Historians working in museums or otherwise with the public have been aware of that, whether or not they accepted it. A curator can write clear label text, carefully construct an exhibit and educational program; there will still be visitors who ignore all the presented information, or who read what you have written in a completely unexpected way. The divergence of intended and received information can be seen as a failure, but how we react to that failure can change, in fact seems to be changing.

From my entirely self-informed understanding of 20th century educational and museum history, there was for some time an attempt to change the behavior of the visitor. The exchange of information, whether from a curator or academic historian, was one way: into the audience. The challenge which is now being voiced by some, including (I believe) the editors and contributors of Letting Go, is to start a conversation, to engage the audience in a conversation, and moreover to listen to them.

Giving voice to the non-experts is scary. How can we give up the authority that we have earned through hours of work, reading, and all those graduate classes? What if they don’t listen to us? What if they are wrong about something, or say that we are wrong?

On the other hand, listening to the non-experts is exciting. When they realize how broad and deep our knowledge is, they respect all the hours of work and reading (well, most of the time).  If we listen to them, they may be more inclined to listen to us. At times, they may still get it wrong.

The main concern I have seen in citizen history, both in my own experience and in the readings, is a fear that the public will misbehave – commit vandalism, break the tool or the site. It is expecting the absolute worst behavior of people. Certainly, there will be some vandals. There will be the one person who stands on the left side of the Metro escalator, who talks loudly on their phone in the quite train car, who speeds recklessly on the highway. There will still be all the other people standing on the right, reading quietly, and driving within 10 MPH of the posted limit. We should give those people a chance.

Moreover, we should be excited to give those people a chance. They can be extremely passionate about things that interest us, or even things that do not. As Roy Rosenzweig mentions in his article about Wikipedia, the user-generated encyclopedia  “offers a detailed 3,100-word article titled “Postage Stamps and Postal History of the United States,” a topic with a devoted popular following that attracts little scholarly interest.” Although not generally applicable or usually publishable, this group of wikipedians might prove helpful should a curator at the US Postal Museum run into a thorny problem.

Moreover, once a community of participants has established itself, they will help to keep down the number of vandals and troublemakers. Full disclosure: I have an account to edit Wikipedia. Just this past week I was reading an entry and noticed that someone had added “youll love these awesome deals” to one of the references. So I went in and made a minor edit. Users may have their differences, but in general I think the citizen historians are interested and excited to be included in a meaningful historical project.

That, for me, is one of the best reasons to be willing to surrender a little authority, to listen as well as talk: the enthusiasm of the volunteer can restore your own energy and dedication to a project.2

  1. Generally used to describe the late 19th century creation of a distinct identity for historians working in the academy [↩]
  2. I almost wrote a long paragraph comparing this feeling to the benefit of a responsive audience for theatre actors – as compared to an empty room – but I decided to stick it in this footnote instead. Maybe later. [↩]

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Week 5: Public History (on the web)

24 Saturday Sep 2011

Posted by Megan in Clio Wired Fall 2011, Courses, Digital Humanities, museums

≈ 4 Comments

Tags

clioF11, digital history, history websites, museums

The title of this week in Clio Wired is Public History and the bulk of the reading list is web sites where the general public can engage with history. The sites are:

  • Raid on Deerfield: The Many Stories of 1704
  • Price of Freedom
  • Gulag: Many Days, Many Lives
  • Martha Washington: A Life
  • Bracero History Archive
  • Cleveland Historical
  • History Pin
  • Civil War Data 150
  • PhillyHistory.org

Two of the sites – Deerfield and Freedom – use a pre-content site, a sort of splash page. The image and text presentation is decidedly reminiscent of the initial physical encounter with a museum exhibit: a wall with text summarizing the exhibit and a representative image or two. Both of the sites were developed by museum groups, so the transfer of layout theory makes sense. As a web user, I don’t know that I like having to take an additional click to start exploring content, although to be fair you can go from the first page of Freedom to the collections. However, I can see how the layout might create a mental note for the user “This content comes from a museum”; which could increase the users’ trust of the site content, given Rosenzweig and Thelen’s 1998 finding that Americans trust museums for “truth” in history.1

Three of the sites are very clearly about mapping history, geolocating photographs and the like: Cleveland Historical, History Pin, PhillyHistory. Of these, I find myself most frustrated by HistoryPin because it has the least amount of information about each image or object in its collection. Cleveland and Philly’s provide contextual information for each image, Philly going so far as to provide quotes for some of them. These all have mobile app versions of their content, and I would be curious to find out how much of the text data is displayed in the mobile versions. I can see that someone developing a purely mobile app might think photos were the best way to engage people in history, and yet I can’t help but think that the addition of context allows for a richer experience.

In fact, that’s my overall impression of these sites. The ones with more context, more ability to “dig down,” as they say, are more engaging to me. What is the object or image, where did it come from, how did it end up on the web site, what does it mean? As a historian, I’m used to asking these questions and figuring them out for myself, but as a curator one of your jobs is to provide some guidance to your visitors. For me, It’s not enough just to put things on the web. You have to give clues, at the very least, to help visitors understand why it was worth digitizing and putting online in the first place.

1 Roy Rosenzweig and David Thelan, The Presence of the Past: Popular Uses of History in American Life. New York: Columbia University Press, 1998.

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Week 4: Design, Standards, and Usability

18 Sunday Sep 2011

Posted by Megan in Clio Wired Fall 2011, Digital Humanities, museums

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archives, clioF11, controlled vocabulary, databases, museums, webdesign

I enjoyed reading the various essays from A List Apart regarding design and usability, but the piece for the week which most engaged me was the article by Elings and Weibel regarding shared metadata standards for museums, archives, and libraries.

My job at the historic house and what I am now doing with CHNM both came down to assigning keywords, metadata, to historic documents and (at the house) objects. One of my roles at the House was to propose, evaluate, and define new keywords for our relational database. As a result, I’m aware of the benefit of a controlled vocabulary, as well as the challenges which accompany it.

As I think about it, the challenges fit well with the readings about design and architecture of websites. Both situations force the builder or implementer to look at the audience, or audiences, they plan to serve, and how the audience(s) will interact with the data they provide.
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The Donor Side

23 Saturday Jul 2011

Posted by Megan in family, museums

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Tags

archives, dad, donation, family, museums

This past week I participated in the museum donation process from the other side – the donor side. My father was donating some of the papers of his father and grandfather to a military museum, and my sister and I joined him.

The initial meeting with members of the collections and research departments was relatively familiar to me, having witnessed it happening in my own department when I was at the historic house museum. They explained the process of accession – slightly different from what I was used to – and we talked about the content and history of the 2 trunks, display table, and assorted files and scrapbooks. They were very excited about some of the material, and sensitive to the fact that it was sort of hard for us to let it all go. They are, however, going to digitize everything, and we’ll get a pdf of the finding aid once it’s complete.

The best part of it all, however, wasn’t even on the original itenerary. Dad of course mentioned that I had just worked in a curatorial department, which led to some friendly colleague chat with the research guys. They suggested that, after visiting my great-grandfather’s aircraft (undergoing restoration), we visit their office building, also the collections storage site. Continue reading »

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Living with Hurricanes at the Louisiana State Museum

06 Monday Jun 2011

Posted by Megan in 21st century, America, museums

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hurricanes, louisiana state museum, museums

what remains of a piano damaged by Hurricane Katrina

Fats Domino's piano

Last month I was in New Orleans for a joyful family occasion, and I had the chance to see a new exhibit at the Presbytere building of the Louisiana State Museum titled Living With Hurricanes: Katrina and Beyond. I was intrigued by the exhibit to see how a museum in the heart of an affected area remembered and interpreted a major natural and human disaster. I was also drawn because Katrina had a direct impact on my family.

The joyful family occasion was my sister and her husband’s graduation from medical school. My sister moved to New Orleans for med school at the beginning of August 2005. Less than a month later, she was thousands of miles from her barely-unpacked house, with two cats, a car, and no idea when she’d be able to get back into the city. I viewed the events of Katrina and Rita through a familial lens; this exhibit was a chance to look at it from a different angle.

Overall, I found the exhibit compelling, informative, and I think designed in a way so that every visitor would come away having learned something. Information was presented in a number of ways, providing all sorts of ways for a visitor to connect to the story. The exhibit also seemed like it would not be too traumatic for someone who had experienced the storm to visit.

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Museum on the Parade Route

08 Tuesday Mar 2011

Posted by Megan in museums

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Tags

mardi gras, museums, new orleans

I’m in New Orleans visiting my sister and her husband.  It being Mardi Gras season, we’ve gone out to catch a few of the parades. Last night the Krewe of Bacchus rolled with the theme “Bacchus Salutes the Greatest Generation.” It was a great theme, allowing for some fun floats, but also resulted in an unanticipated museum moment.

The National World War II Museum is located here in New Orleans. One of the first floats which rolled in the parade, after the officers, was a float sponsored and staffed by the Museum. I do not know the exact nature of the involvement was between Bacchus and the Museum – it could have been a pay-to-play, or even that some of the Museum board museum members are also officers in the Krewe of Bacchus. However it worked out, I thought it was a unique way of raising awareness and hopefully visitor numbers for the museum. The WWII Museum has only been open 11 years, and is located in the Central Business District, not the tourist-mobbed French Quarter. Until this year, I was only peripherally aware of its existence.

The Krewe of Bacchus is a super krewe – with more floats, bands, and all than the average krewe. It rolls on the Sunday of Mardi Gras weekend, attended by locals and tourists alike. For those who haven’t been to New Orleans in Mardi Gras, people of all ages go to the parades, camping out all day with grills and lawn chairs. Thousands of people lined the streets of New Orleans on Sunday to watch Bacchus roll with floats about WWII, and the float at the start dedicated to the museum. In theory, some of them might have been motivated to visit the museum the next day.

Personally, I hoped that the Krewe of Bacchus had also consulted the museum for material for the float. I’m not sure they did, but one of my favourite floats from that krewe came almost at the end: Propaganda Posters. Maybe the images came from a google search, but I like to think that some member of the museum was involved.

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The Man Behind the Curtain

19 Friday Feb 2010

Posted by Megan in community, General, museums

≈ 3 Comments

Tags

backstage, community, magpie herself, museums, visitors

In case you don’t recognize the source of the post title, it’s from the Wizard of Oz (the film). All four travelers are in the Emerald City, awed by the Wizard, and then Toto pulls aside a little curtain to reveal an ordinary person. “Pay no attention to the man behind the curtain!” says the Wizard, a little desperately. But they don’t.

I love that quote. It’s partly about magic, which is based on misdirection, but rather than misdirect it somehow draws attention to what you’re not supposed to see. I love seeing how things work, whether a car engine or a museum. I also like being part of the world behind the curtain.

I’ve been aware of the world behind the curtain for years. When I was four or five years old, I started ballet and theatre classes, both of which culminated in productions. I’ve known about green rooms and lighting technicians and all the work which goes into a show for almost my entire life. My mother was, for my entire childhood, a professor, and so I never wondered where teachers went at night. I knew that, like my mother, they went home to families. When I was in high school, I volunteered at the museum I had frequented as a child, and for the first time experienced the delicious pleasure of walking through a door labeled “STAFF ONLY”.  I have always known that there was a backstage, and enjoyed working there.

One of the startling realizations for me, working as I do behind a curtain at a museum, is how many people don’t seem to know that the curtain is even there. A number of people, when I tell them where I work, ask if I’m a guide, and are surprised that there’s anything else to do at a museum. Some visitors are likewise surprised to find that there are buildings not open to the public; I can see them thinking “but what do they do in there?” And there was the one volunteer who interrogated me about our operations, apparently unwilling to believe that a non-profit museum still operated like many other organizations, with financial and administrative departments (but then, he also assumed the entire curatorial department were volunteers).

I am not entirely sure how to change this, or if it should be changed. At my institution, we are in the process of furnishing a historic house, and our guides talk about the work that goes into this effort. This is a start, and hopefully gives people an idea of what curators and museum researchers do. I wonder if there is more I could do, individually, or if just explaining my job at coffee hour at church and such places is enough.

Have other people encountered this lack of understanding, of awareness of the backstage at museums and historic sites etc.? Are there better or worse ways of explaining, of opening the Staff Only door (figuratively, anyway)?

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“History doesn’t change”

07 Monday Sep 2009

Posted by Megan in General, museums

≈ 2 Comments

Tags

museums, public history

Recently I went down to south-west Florida to visit my grandfather, who lives in one of the many retirement communities in the area. He said “We’ll do whatever you want,” and I said “Hey, let’s check out the local history museum.” My grandfather admitted he’d never been, despite having been in the area for over a decade, and away we went. It was a very nice County Museum, with a small static exhibit in the administrative building and a nice collection of pieces and small buildings in the outdoor area/garden.

We went to leave, and said we would be back. The woman who was working the desk at reception/gift shop area said “Well, everything here will be the same – history doesn’t change!”

I just nodded, but her statement bothered me. True, the actual facts of history are, at this point, static. What happened does not change. Our understanding of it, on the other hand, does. Their exhibits included topics such as the Seminole, slavery and escaped slaves, and the logging of the cypress forests. How those topics are presented today are not necessarily how we would present them 15 or 30 years ago; who knows how we will interpret them 15 years from now? Scholarship certainly changes. Public history changes, too.

I know that this is a small county museum, which is part of four museum sites operated by the county museum administration. They don’t have a large staff, their budget is definitely small. They may have limited opportunities to change their exhibits, even if their administrators (whoever they may be) wanted to do so. To me, however, saying “History doesn’t change” is to say “this place is static, only worth seeing once, because it and history are only worth a single walk through.” Museums and history deserve second looks, because you never know what you might discover that you missed before.

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