Noah's Ark from Marxchivist

My interest in the debate really did not spring from a desire to tell others what I thought of the decision to award a quality badge to an organisation such as Noah’s Ark but to raise the issue of what we as learners and educators (particularly in museum settings) consider to be good learning and education and the problems we have in over-categorising learning, for example, separating Science and Non-Science (e.g. Creationism belongs in Religious Education not Science). To avoid repeating myself, I have posted my contribution to this debate below but it can also be read in the list archives here.

This debate has also reminded me that long ago I promised some posts on museums as sacred spaces, and as such I have thought an awful lot about it but not yet blogged about it. This might be considered a prelude, then. Can museums cope with presenting Knowledge as Belief as well as Belief as Knowledge?

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Message sent Thursday 29 July 2010.

Dear all,

I have read this debate with an enormous amount of interest, not for the points about whether Noah’s Ark is a good or bad thing (however you decide to decide this) but for the problem it has raised over how we go about categorising our information into science and non-science. I have very many scientist friends and family, most of them always questioning what exactly it is we _know_ from empirical measurement and observation and what exactly it is we don’t know and just estimate or guess at. And yet the uncertainties of modern western science are not always presented to the public in whatever forum (and we don’t really question this).

Where subjects like creationism (yet another -ism many learning providers deal poorly with of whatever persuasion) ‘fit in’, is to me a non-issue. Fora should exist where scientific, evolutionary elements of human and earth history are discussed with creationisms, beyond the nutsy approach taken by Noah’s Ark. I am sure they have existed in some places, why don’t we see or hear more of them so sites like Noah’s Ark can be shown up for what they really are? We don’t need to patronise all members of the public, young or old, by worrying that they are going to be misled even if they read misleading information.

Where we came from is a fundamental question we have all asked, particularly as children. Empirical science does not know everything and there is no capacity to know what you don’t know. All those unknown unknowns. Similarly, the kind of biblical creationism we most often hear about in the media is only one (and often skewed) interpretation of a world view held by people past and present; what about all the other creation stories (see Sumerian for example), some of which echo has later been discovered through the theory of evolution, or theories of evolution, should that be?

Learning and education quality marks are subjective, no matter how many guidelines and parameters you set, as the subject matter is inescapable. I cannot see how you can be neutral about the subject of learning. If one was to give the cliched example of, ‘what about if the BNP had an education programme’… etc… what would those respondents who said that the assessment of learning quality should be neutral think then? Why do we have to think so mechanically about learning and its categories? Surely learning outside the classroom should break out of the constraints of the National Curriculum which itself has been shown to be a more than imperfect way of teaching in many subjects, overly compartmentalised, and lacking the encouragement of individual thought and analysis in some areas.

In short, what this debate so far has shown me is that what really needs discussing is not whether creationism as science is a wolf in sheep’s clothing but whether as learners and educators ourselves we have stopped to question our massive assumptions about both.

I suspect this is a gauntlet that no one will pick up ;-)

The story on Reuters claims that 14,000 photos of the artefacts will be published online in early 2010.

“I can think of no better use of our time and our resources to make the images and ideas from your civilization, from the very beginning of time, available to a billion people worldwide,” Google CEO Eric Schmidt said at a news conference at the Baghdad museum.

“Most American companies are not yet operating in Iraq, and we would like to show that it’s possible to do business in Iraq, that Iraq is an important market that will grow quickly, that it’s sufficiently stable,” he added.

Ah, so the latter quote shows some of the politics involved, but recording, cataloguing and making freely available such an important collection is surely a good thing.

The questions that arise from this news are numerous, and, just to add to the speculation, ReadWriteWeb quote Google’s CEO Eric Schmidt as saying that there will be “a few surprises“.

Will Google be releasing the raw data? Will it be structured? Are Google going to release a collections management system? Will they work closely with other museums?

Definitely one to watch.

The Wiltshire Heritage Museum library has just gone online with a digital library created in just 5 months using the controversial Google Books service.

The Library has been collecting books about the history, environment and archaeology of Wiltshire for over 150 years, and has many rare and important books in its collection of over 8000 volumes. Until now, the idea of getting the library online has been only a dream for librarian Dr Lorna Haycock. Without Google, it would have cost tens of thousands of pounds, buying a computer system, exhaustive data entry and only a few of the books could have been scanned electronically.

Museum Director, David Dawson explained that the controversial Google Books service has a ‘My Library’ facility, where you can simply click on a book that you have found on Google Books, and then add it to your own digital library. Work began in May this year to catalogue the entire library, using Google Books, and over 5,000 books have now been recorded. Many of them have already been digitised, and the full text of many can be searched online. He commented “as far as we know, we are the first library in the world to have created a digital library using the Google Books service. As an independent charity, we simply couldn’t afford to get our library online until Google Books gave us this fantastic opportunity to enable people to carry out their research online.”

The digital library has now been launched through the museum website – www.wiltshireheritage.org.uk. Everyone can now browse and search the library online – finding books that contain detailed information about where they live, or about the history of their family. Director David Dawson explains “people can then visit our library to read the real books, discovering the wealth of material that we have in our fantastic library”.

While they have not digitised the text from their books, this is a fantastic start, and clever thinking. Most of their titles can now be searched, and thanks to the Google Books digitisation programme (the ‘controversial‘ part) the content of many out-of-copyright titles can be searched or downloaded as part of the Google Books Library Project.

Visit the Wiltshire Heritage Museum Library to find out more.

And as an aside, I ought to mention the Wiltshire Heritage Museum’s YouTube channel, which, at the time of writing, does not have many views on its videos. Their short films are of excellent quality, professionally produced, and really watchable – just the right length, and many of them featuring Wiltshire’s most famous archaeologist – Time Team/Wessex Archaeology‘s Phil Harding, who is no stranger to being in front of the camera. Go there at once, and watch some of them! Or better still, visit the museum – something I’ve shamefully yet to do myself!

(note to self, visit Wiltshire Heritage Museum!)

We surround ourselves with noise these days, either to mask out other people’s uninvited noise or because we find the silence too difficult to deal with. I use ‘we’ in the loosest sense here. I want civic spaces which are deliberately quiet, still and, I suppose temple-like or at least sanctuary-like.

Another way in which I have thought about museums as sacred spaces is related to the debate about the display of human remains. Entire volumes can be written about all the arguments about what we should do with archaeologically-recovered human remains, some of which I will go through in time in subsequent posts, but I want to offer a new framework. Can we ever perceive the museum to be a new temple of the deceased? Isn’t this where we go to learn about the past? And haven’t humans for all time looked to their ancestors for knowledge and wisdom? Whether you have a spirituality or not, there is no doubting that we can and do learn a lot from the remains of our (the broad humanity ‘our’) ancestors.

And so it will be on these two subjects that I will begin.

Read more about the Museum of Computing reopening on Culture24 or their own press release for more background on the museum.

Friday 23rd May 2009 – We are delighted to announce that the Museum will be reopening in July 2009 in Swindon town centre. Our volunteers are now hard at working transforming what was previously retail units into one of the most exciting and original venues in Swindon. The museum will be located at 6-7 Theatre Square, an section of the town that has been designated a cultural area in Swindons regeneration plan. We are very grateful to Swindon Borough Council for making these premises available and to all the people who have worked so hard to make this happen.

I have recently contributed two reviews, and added them to two groups I run. The first is a short response to Shah ‘Abbas at the British Museum and the second is in response to Byzantium at the Royal Academy.

Read response to Shah Abbas in the Iran and Persian Culture group.

Read response to Byzantium in the Medieval and Byzantine Objects group.

Please note: For some reason my paragraphing is not preserved and so the Byzantium review might be a little hard-going. If you happen to read it and would prefer to read it in a more sensible format, please leave a comment here, or on Creative Spaces.

Despite the criticism from some of the more vocal members of the museum technology community, I stand by my previous post in that I can’t help but like the idea of the Creative Spaces project.

Why will people like it?

I think people (i.e. ‘normal’ users, not museums professionals per se) will like it because:

• It encourages users to interact with the museum spaces and objects within
• It fosters a sense of connection with the museum, which, in my unscientific experience, people like
• It is an online space endorsed by the museums and galleries themselves, so it’s ‘safe’
• You are free to do what you like on the site – sign up to groups, create notebooks about things you find interesting, comment on other notebooks and items within, etc.

It will, of course, only ‘work’ if a genuine community builds up around and within the website. Getting people to use it shouldn’t be a problem. I don’t know the exact visitor numbers for the nine museums involved with the pilot, but it’s certainly in the millions. Something as simplistic as a sign reading “Interact with this museum online. Share your experiences on Creative Spaces.”, displayed in prominent physical as well as virtual spaces ought to do the job. Maybe a place to have an experiment with QR codes too.

Homepage

Much of the criticism (e.g. Mike Ellis, New Curator) about Creative Spaces is that people have, when faced with the homepage for the first time, not known what to do, or how it will benefit them. This is generally true. It’s hard to design the perfect homepage (believe me, I know!), but I can suggest some improvements.

Firstly, we need people to know immediately what the site is all about. Currently we have: “Connecting with your favourite Museums! Creative Spaces connects you with nine UK national museums and galleries allowing you to explore their collections, find like-minded people and create your own content.”

Maybe it could be ““Interact with museums and galleries. Upload your own experiences. Search the collections of 9 museums. Connect with like-minded people. Expand your visit online.” This explains why I might want to create an account and get involved – I don’t want to “create my own content”, I want to upload my stuff to share!

Those big buttons could do with a very short description (click to see a larger version):

(as I write this, Frankie has written echoed some of my ideas, and had some great new ones)

Should Notebooks be called Notebooks? They’re more like your own collection. Whichever way it is done, I do think that it could be a tad clearer.

URLs

However, on the sign, you would have to display a URL. It would make sense to make this a single, memorable URL. I confess to being somewhat confused as to why there are so many URLs – one for each participating insitution:

 The only difference I can see when looking at these sites is the “Popular collection items” display. Perhaps a gateway page with a single URL would be an option, say at creativespaces.info (which is available, and easy to remember)? You could select which museum you wanted to see popular items from. There are many ways of doing this – I hope the stakeholders explore some of them.

Search

As I have mentioned elsewhere, I did find the search facility to be somewhat lacking. It’s great for casually browsing objects by keyword, but like many people, once you can see the power of a cross-collection search that previously (to the best of my knowledge) didn’t exist, I want more.

I found it very hard to locate objects that have an Iron Age date, for example. If I was to use this in an educational context I’d like to see a few more options in the search, such as provenance, period, and location.

In the search results, clicking “View larger image” opens a new browser window showing the result from the institution’s own website, which in turn often requires another click to view a larger version. If this could be integrated in a better way, that would be great (but it’s a start). Maybe using a “lightbox” style effect (using jQuery, for example) to float the detail page over Creative Spaces might make it seem slightly better integrated?

RSS

I’d like to see personalised RSS feeds for notebooks and groups. This would allow me, as a slightly more tech-savvy user, to display my Creative Spaces content elsewhere, such as here on Past Thinking, or even in Facebook.

Beta & User Help Forums

If the site is going to be in “beta”, it ought to be described somewhere on the site what this means in layman’s terms. Frankie Roberto suggested needs to be some kind of help forum (like GetSatisfaction). This should be separate from the “Groups” (as it wouldn’t be about museum/gallery content, but about the website itself), that is looked after by the Creative Spaces staff. They can listen to suggestions, and inform people of forthcoming changes. Communication needs to work both ways if there is a community involved.

Conclusion

Creative Spaces is in beta. Things will change as more people use the service, and those who designed it learn how it is used, and where its limitations lie. Any amount of user testing is no match for thousands of people trying to actually use it. It’s the approach Flickr took, and some radical changes have occurred there too over the years (for good or for bad – you can’t please everybody). They listened to their users.

With a better homepage, I think this could really work. Once that is improved, and people can see straight away why they would want to use Creative Spaces, it will gain more users, and begin the evolution of the beta site into a strong, vibrant community of, as the BBC put it “Museum lovers”.

Here’s to its success!

[Update] Mike Ellis’s post on his Electronic Museum blog has a really good conversation going on in the comments. It’s really worth heading over there to catch up on who’s saying what.

The National Museums Online Learning Project “Creative Spaces” is a social media project that links 9 major UK museums and galleries. Currently in beta, participating institutions include the Natural History Museum, The V&A, British Museum, Tate, National Portrait Gallery, Sir John Soane’s Museum, Royal Armouries, The Wallace Collection and the Imperial War Museum.

Explore the beta of  Creative Spaces.

Creative Spaces encourages visitor interaction:

The site allows you to search all the collections at once, tag and store items in notebooks and groups, and upload your own images, videos and notes to share creative inspiration with others. This is a nonprofit, public sector project, and it’s the first time that national museums have collaborated in this way.

Visitors can create a Creative Spaces account and make “notebooks” of their favourite objects by browsing the federated collections of the nine museums, and clicking “Save to” next to the object description. I was able to, for example, create a Notebook which I called “Iron Age goodies” and quickly add a few objects to it. Objects can be tagged, which is nice. If you don’t want to add an item to a group, you can simply add it to your favourites, perhaps to add to a notebook later.

One of the nice things about Creative Spaces notebooks is the ability to add your own content. 

This is the important bit for me. The ability to augment the museum-supplied content with my own photos, videos, links etc from my own visits is just lovely. A quick (but important) look in the site’s Terms & Conditions reveals that all copyright of contributed material remains with the creator, so no worries there. I will certainly contribute some of the photos and videos that I’ve taken, and I hope that many others do too. A nice touch is that your notebook page contains a social bookmarking widget allowing you or visitors to your notebook to easily add it to their bookmarking/social service of choice.

Groups allow people to join special interest groups which can be public, public but with a membership approval process, or private. Anyone can create a group. It will be interesting to see how these are used, but at the time of writing it seems as if every group wants me to request an invitation to join, regardless if membership is open or not. But still, this is a beta, so I’m sure it will take a while to iron those bugs out (as a web developer myself, I know how tricky this can be).

The site also contains videos produced by participating museums, so you can also see ‘official’ videos on different themes.

Creative Spaces has a huge amount of potential, and it’s one of the few recent developments in the heritage sector that genuinely excites me. It has potential to allow people to interact with museums in a central place, and share the experiences they had during their visit. The federated search opens up the collections, and can even help to plan a visit, or conduct research from a distance. The notebook functionality can even be used to add links if users prefer to post content to their own sites. It’s a really good idea.

Where could there be improvements? Having only used the site for a short while, here are a few suggestions:

• Incorporate OpenID. I have so many accounts with websites, I don’t really want yet another username/password combination!
• Create an advanced search form. Searching for Iron Age objects was hard.
• Give me a nice URL for my page (http://bm.nmolp.org/creativespaces/?page=profile&uid=211). I’d like http://bm.nmolp.org/creativespaces/tomgoskar, for example.
• Create a feed of status updates – it seems as if only the latest one is displayed.
• Let us know if Museum staff will interact back with us. Or is the site going to be just for visitors to interact with each other? Will our content be accessioned back into the collections databases in any way?
• Can I have an RSS feed for my notebook please :-)
• It would be great to allow other users to add tags to my notebook entries.

I also think that it is a great idea to provide this kind of experience for many museums in one place. Too many duplicate sites will mean too much dilution. I hope that other museums can come on board and add their collections as funding permits.

All in all, it’s a great idea, well executed for a first version. It heralds a further change in the way that museums are perceived, opening them up, making them less stuffy, and allowing us mortals to engage and interact with their collections (and each other). All we need now is for the Creative Spaces website (when they are ready) to be widely publicised, as every social networking site needs an audience.

I for one will be participating. See you on there.

The exhibtion, presented in association with the Society of Antiquaries of London, explores the development of archaeology, from antiquarianism to the rise of modern professional archaeology. It features original works of art, manuscripts and artefacts from their wonderful collections.

Making History is a travelling exhibition, and after Salisbury it will move to Stoke on Trent, Sunderland, and Lincoln. It will be tailored to include relevant exhibits from each region, in addition to the exhibition’s core collection.

Following on from my work on the Making History exhibition in London at the Royal Academy last year, I have contributed a short animation to the Salisbury exhibition.

Entitled “Lasers and Light”, it contains some new footage generated from the Stonehenge LiDAR dataset, close-range laser scans of some bones (and skull) from the Amesbury Archer, and some laser scans of WWI and WWII graffiti carved into trees on Salisbury Plain. In the next week or so I will put it online and embed it here.

If you can make it to Salisbury and South Wiltshire Museum, Making History will certainly be worth a visit, and will give you an opportunity to explore the rest of this fabulous museum.

I have to say that I haven’t looked at their website for a long time, and it’s now very nicely designed.