Difference between revisions of "Designing CLIO with the MUSETECH Model"

Revision as of 18:20, 29 November 2021

The MUSETECH Model^[1] posits that in order for museums to successfully utilize technologies, there are three stakeholder perspectives that must be considered. Throughout all stages of a museum technology project, these perspectives offer views that complement and inform the others in a way that can build institutional synergy. This model also states that there are four primary stages or constituents of a museum technology project. These quartiles contain evaluation criteria per perspective, grouped by thematic categories, which allows for a granular overview of the considerations throughout each stage of the technology project.

As a team, we used our monthly workshops to consider each of the 121 Evaluation Criteria and our answers to these questions helped form the foundation of the project. As the scope of the project changed and new design proposals were considered, these evaluation criteria were re-visited and re-assessed. This continually evolving process guided our research, design and evaluation. By building upon the strengths of previous design proposals and workshopping the weaknesses, we were able to adequately assess each criteria. We have provided a brief overview for each quartile cluster.

Read More: The MUSETECH Model

Design Quartile

(D1) Design and product ideation

D1Pa. Design concept

Perspective: Cultural Heritage Professional

When considering how technologies were utilized, we decided specifically to pursue open-source web technologies. These technologies provide a versatility and portability that many other technologies did not, allowing them to be used on numerous devices. These technologies have matured with the internet. We would focus on active projects with growing documentation and communities in order to ensure future support. We would be creating a web application to exhibit interactive activities that could be integrated into informal education in numerous ways. We would be creating a portable interactive kiosk system using low-cost open hardware that ran an internal web server, allowing the exhibition software to function completely offline.

D1Pb. Integration with the exhibition

Perspective: Cultural Heritage Professional

We wanted to create an interactive experience that acted as a contextualizing part of the exhibit without overshadowing it. The POP kiosk was available to provide additional or related information to the exhibit objects through interactive activities, but it wasn’t meant to detract from the tangible exhibit. For use within the Nature's Network program, we wanted most interactive activities to be completable within thirty seconds with several longer ones available for use at the facilitator's discretion. Our hope was that it could lure their eyes towards objects that they had just learned about through the kiosk and continue moving visitors through the exhibit.

D1Pc. Integration with other ICT

Perspective: Cultural Heritage Professional

It may be possible for CLIO to integrate with certain open-source collections databases, such as Collective Access^[2], to pull multimedia and metadata for use in activities. This is outside of the scope of the initial CLIO release and would need to be added in future versions. The POP kiosk uses a Raspberry Pi microcomputer with the Debian operating system and could potentially be integrated with other electronics through ethernet, USB or GPIO ports. CLIO is an open-source web application and can be used on any computer system capable of running a web server.

D1Pd. Balance of physical with digital

Perspective: Cultural Heritage Professional

For the BurkeMobile, the POP kiosk would not have any speakers, make noise or auto-play any multimedia. We didn't want the kiosk to overpower the tangible parts of the exhibit, so it would blend into the background when not in use through various mechanisms. After a configurable amount of time, the kiosk would return to a home screen illustrating the available activities with visual and textual instructions. The screen can also be dimmed when not in use, temporarily overriding the facilitator and visitor brightness settings until interacted with. There would be a card on the exhibit table talking about the kiosk, its activities and how to get started. Our goal was to help self-facilitate learners through the exhibit by interesting them with the objects and draw their attention to an activity before they left the table.

D1Pe. Clear understanding of the fabrication process

Perspective: Cultural Heritage Professional

We would be creating documentation surrounding CLIO and POP that included guides for creating and editing activities, as well as creating and maintaining a POP prototype kiosk. These guides would also act as quick primers into various subjects related to CLIO, such as JSON data storage or 3D printing procedures. Workshops could be held where professionals are trained in the new processes by interactively doing it themselves under educator supervision.

D1Pf. Level of in-house technical knowledge

Perspective: Cultural Heritage Professional

We wanted CLIO to be accessible to professionals without design or software development experience using an easy-to-use and interactive web interface for creating, managing and exhibiting activities. We also wanted CLIO to accessible to developers looking to add new features, interact with external hardware, design activity types or create menus. Our goal was to create defaults that work out of the box for institutions without designers or developers, but are easily changeable with the appropriate knowledge. In addition, we would be creating extensive documentation surrounding the project.

D1Ma. Level of innovation and business intelligence

Perspective: Museum

This type of exhibit technology offers to different perspective for interactive content than many traditional means. CLIO hopes to create an interactive exhibit framework that can be integrated into a museum's galleries and re-used through out different exhibits. POP kiosks are small and portable, allowing them to be moved around your institution based on its changing needs, or even take them outside of the building to facilitate live lessons or pop-up exhibits. CLIO and POP are based on open hardware and software that are extensible, allowing these kiosks to control different exhibit elements such as lighting, sound or mechanics. Additionally, the kiosk is modular, built using open hardware, and printed in-house, allowing individual parts to be replaced only as needed.

D1Mb. Brand name, uniqueness and originality

Perspective: Museum

CLIO is intended to act as a framework that an institution can build on top of to create something that is unique, aligns with their mission and fits their design language. By creating new activity types, theming interface elements, or changing filament colors, CLIO and POP can be customized to any institution. The project is also based on open-source technologies that are available for free and built by the community.

D1Mc. Integration with other ICT

Perspective: Museum

It may be possible for CLIO to integrate with certain open-source collections databases, such as Collective Access^[2], to pull multimedia and metadata for use in activities. This is outside of the scope of the initial CLIO release and would need to be added in future versions. The POP kiosk uses a Raspberry Pi microcomputer with the Debian operating system and could be integrated with other electronics through ethernet, USB or GPIO ports. CLIO is an open-source web application and can be used on any computer system capable of running a web server.

D1Md. Budget

Perspective: Museum

CLIO and POP are open-source so licensing costs aren't a consideration when budgeting for interactive activities and exhibits. CLIO can be used on any computer system capable of running a web server, allowing institution to re-use existing hardware systems or utilize low-cost commodity hardware, such as Raspberry Pi and Adafruit.

D1Me. Staff acceptance

Perspective: Museum

Initial education staff reception to CLIO and POP were generally positive with an interest in adding technology elements to their exhibits. User interface evaluation was completed with the education staff and museum volunteers, which garnered feedback used to improve clarity and navigation of the interface. General reception at the Lunch and Learn Seminars, as well as the MuseWeb 2020 conference, were generally positive with a majority of concerns relating to the ease of use and documentation of CLIO and POP. Classroom teacher responses from the Nature in the Classroom remote pilot program was generally good, with several positive comments relating to its asynchronous possibilities and varied informal educational uses.

D1Va. Co-design, front-end evaluation and visitor acceptance

Perspective: Visitor

Due to the Covid-19 crisis, all in-person visitor evaluation for the POP kiosk and CLIO interface were put on hold indefinitely. Observation of over 20 Nature in the Classroom remote pilot program through the Slater Museum garnered generally positive feedback. Students were able to easily navigate all of the activities used within the lesson and they were all accessible through their home web browser while facilitators led the lesson with on-screen examples.

(D2) Experience design and narratives

D2Pa. Experience added value

Perspective: Cultural Heritage Professional

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D2Pb. Relevance to Audience

Perspective: Cultural Heritage Professional

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D2Pc. Tailored content

Perspective: Cultural Heritage Professional

The activities provided an educational, interactive and hopefully enjoyable experience. By creating different templated activity types, we could tailor the experience more closely to the educational goals we were trying to achieve by using simple or familiar interaction paradigms, such as timelines, annotated images and card matching games. An interactive and looping slideshow could more effectively communicate the cyclical lifecycle of salmon than a static block of text.

We wanted the ability to categorize activities by audiences, allowing the facilitators to tailor the content and experience for their exhibit on the fly. Occasionally, the BurkeMobile would need to create condensed exhibits due to space concerns. This would allow them to merge exhibits together as needed. We discussed the possibility of creating the same activity for different age groups, such as children, teenagers, adults and mixed age groups. For example, activities designed for mixed age groups could provide questions to indirectly facilitate questions within the group.

D2Pd. Attentional balance

Perspective: Cultural Heritage Professional

We didn't want CLIO to require too much attention of event facilitators, educators and operation managers. Kiosk systems can be configured to load Facilitator Mode at startup, allowing professionals to tailor the content to the audience, or they can always load the same exhibit. Once a POP kiosk is set up in its environment, it will operate independently as a black box system. If there are ever problems, the kiosk can be easily restarted. When used with Facilitator Mode, professionals can reload the last used activities in the event of a system failure.

D2Pe. Social Interaction

Perspective: Cultural Heritage Professional

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D2Ma. Interpretive, Educational, Learning Potential

Perspective: Museum

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D2Mb. Personalization potential

Perspective: Museum

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D2Mc. Public Outreach and Communication Potential

Perspective: Museum

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D2Md. Big Data Potential

Perspective: Museum

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D2Va. Engagement

Perspective: Visitor

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D2Vb. Personalization

Perspective: Visitor

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D2Vc. Learning, Edutainment, Entertainment

Perspective: Visitor

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D2Vd. Attentional Balance

Perspective: Visitor

We wanted a kiosk that would integrate into the exhibit we were creating, while providing additional context or content, without being intrusive. This required creating an interactive with a straight forward interaction paradigm. A kiosk system similar to the Many Voices project, where the user interacted with physical books, could create an interaction experience that greatly detracted from the BurkeMobile pop-up exhibit. Initial BurkeBox prototypes allowed visitors to hold an object to a scanner to load information about the object, but we felt doing this in a pop-up exhibit would draw too much attention to the technology and risk visitors taking the pieces in error.

Each activity was meant to provide an experience that required differing levels of attention from the visitor. Many activities were meant to engage and intrigue without requiring deep focus. The content was designed to be easily digestible text with accompanying visual components. Activities would only provide as much information as the visitor desired, by hiding additional information behind intentional user action, such as clicking a button or navigating. We aimed to make content that was relevant to the objects on the table, to provide added value if desired, but it was not required to enjoy the physical nature of the exhibit and the pre-existing kinetic activities, such as arranging blocks.

D2Ve. Affective Impact

Perspective: Visitor

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D2Vf. Social Interaction

Perspective: Visitor

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D2Vg. Ability to follow usage on other platforms

Perspective: Visitor

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D2Vh. Sense of belonging to a community

Perspective: Visitor

We aimed to make activities that could draw a impactful connection with subjects the student already knew, such as people, animals, or places. By keeping most of the interactive content regional, such as related to the Sockeye Salmon or Hanford Reach, we could provide a personal connection to the interactive.

(D3) Interactions, affordances, and interaction metaphors

BurkeMobile events were already loud and crowded so we chose to limit the sensory stimulation output by the kiosk. POP did not contain any speakers or haptics and we hoped this would prompt visitors to interact with exhibit objects for sensory information. This choice, however, made auditory experiences and accessibility features impossible initially.

We chose to design the interface with a simplistic menu and content system. We used established iconography and interface conventions so that visitors didn't feel like they were required to learn a completely new interface to get the full exhibit experience. We followed design guidelines from Apple, Google and Microsoft. During the prototyping phase, JavaScript became the primary language for the CLIO web applications because it was found be more responsive to user input. We designed to interface to only require one finger to fully operate, with multitouch interactive layered on top of those. Overall, the interface is purposefully minimalist to avoid extraneous visual information from the kiosk.

We refrained from animations if possible because they could cause problems for kiosk users with various impairments. The exhibit home screen was slightly animated with bright colors to draw attention, however, and this was a concession to provide some motion and visual sense of interactivity. There would be a card on the table detailing activities on the kiosk that were related to an object.

Primary Considerations: D3Pa, D3Pb, D3Pc, D3Pd, D3Pe, D3Pf, D3Ma, D3Mb, D3Va, D3Vb, D3Vc, D3Vd, D3Ve, D3Vf, D3Vg

D3Pa. Quality of Affordances

Perspective: Cultural Heritage Professional

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D3Pb. Suitability of interaction metaphors

Perspective: Cultural Heritage Professional

We chose to use interactive activities for CLIO instead of static object pages, more similar to the BurkeBox project. By designing a framework to create interactive activity templates, we could create new interaction metaphors that could more effectively communicate the points we were trying to make. An interactive and looping slideshow could more effectively communicate the cyclical lifecycle of salmon than a static block of text. With the initial release of the toolkit, there were fifteen activity templates. The different experiences allow variety and unique experience within an interface that will work in an expected fashion.

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D3Pc. Interface design

Perspective: Cultural Heritage Professional

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D3Pd. Clarity of navigation

Perspective: Cultural Heritage Professional

We opted for a small capacitive touchscreen with a one-finger navigable interface designed primarily for accessibility. This provided a familiar interaction paradigm to a cellphone or other touchscreen interface. The kiosk allowed for device specific configuration so educational facilitators could change how the kiosk integrated with their exhibit.

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D3Pf. Multisensoriality

Perspective: Cultural Heritage Professional

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D3Ma. (Ability to) follow-up usage on other platforms

Perspective: Museum

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D3Mb. Brand name, uniqueness, originality

Perspective: Museum

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D3Va. Utility, usability and ease of use

Perspective: Visitor

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D3Vb. Intuitiveness, learnability and learning curve

Perspective: Visitor

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D3Vc. Responsiveness

Perspective: Visitor

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D3Vd. Clarity of navigation

Perspective: Visitor

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D3Ve. Personalization

Perspective: Visitor

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D3Vf. Social interaction

Perspective: Visitor

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D3Vg. Ability to follow-up usage on other platforms

Perspective: Visitor

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D3Vh. Presence of multisensoriality

Perspective: Visitor

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(D4) Aesthetics, look and feel and visceral qualities

It was important that the POP kiosk followed the brand and design language of the BurkeMobile exhibits so that it could better blend in without being intrusive. The default CLIO interface is also customizable to allow the Burke to make the interface meet their design style guidelines. We wanted to keep the interaction with the kiosk pleasant, through the use of a quality multitouch glass touch screen. The kiosk case was printed in black with a protective bumper printed using the BurkeMobile design colors for the pop-up exhibit it was being included in.

Primary Considerations: D4Pa, D4Ma, D4Va

D4Pa. Look and feel (materials, textures, colours, weight)

Perspective: Cultural Heritage Professional

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D4Ma. Brand name, uniqueness, originality

Perspective: Museum

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D4Va. Look and feel

Perspective: Visitor

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Content Quartile

(C1) Content creation

We needed the digital activities for CLIO to be easy to reproduce because we wanted to make it accessible to those without coding experience. To do this, we would be creating a collection of activities and interaction experiences that could be templated, allowing the creation of similar activities with different content or media. The templated data, which was used to populate the activity templates, was stored using JSON because it was more human-readable than XML, faster to transfer, more efficient to parse and had innate JavaScript support. During the interim design and development stages, this was an important factor because CLIO Create had not been created, meaning templating data for activities required a human to edit the configuration files.

Creating activities for CLIO as a team was a multi-step process, involving as many people as necessary, and the responsibilities were We created a rich text format template for drafting CLIO content that was given to educators to allow them to draft content while the software was still under active development. These templates were made accessible through the cloud which allowed educators to update the draft template at any time so it could be integrated into the POP and online portal prototypes. This process made it possible for software and content development to happen concurrently while still informing the other. Once the draft templates for each activity type were completed, it was simple for the Education team to propose activity ideas and begin drafting their concept of future activities.

Primary Considerations: C1Pa, C1Pb, C1Pc, C1Pd, C1Pe, C1Pf, C1Pg, C1Ma, C1Mb, C1Va

C1Pa. Utility, usability and ease of use

Perspective: Cultural Heritage Professional

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C1Pb. Learnability and learning curve

Perspective: Cultural Heritage Professional

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C1Pc. Personalization and adaptation

Perspective: Cultural Heritage Professional

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C1Pd. Multilingualism

Perspective: Cultural Heritage Professional

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C1Pe. Community Support

Perspective: Cultural Heritage Professional

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C1Pf. Technology knowledge and support in the house

Perspective: Cultural Heritage Professional

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C1Pg. Interoperability

Perspective: Cultural Heritage Professional

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C1Ma. Continuity of usage

Perspective: Museum

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C1Mb. Logging

Perspective: Museum

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C1Va. Perceived Content Quality

Perspective: Visitor

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C1Vb. Visitor-created content, creation and curation

Perspective: Visitor

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(C2) Content maintenance

In the case of the Burke Museum, many technology exhibits and projects were outsourced to design exhibit firms who often maintained them, as well. With CLIO, we wanted to set up the Education department to be able to update the content on their kiosks as they needed without relying on an out-of-house professional. While activities can't be edited in the field, they can be updated through the development machine at the institution. The same kiosk can also be re-used for multiple exhibits or demonstrations by creating and loading new content. Documentation for CLIO was considered imperative for it's success and was maintained throughout the project.

CLIO is based on web technologies, allowing for the integration of these activities into educational lesson plans that are available online. This allows institutions to extend the lifecycle of the content they create, allowing it to exist online as part of an archive, online exhibit or lesson plan. Activities can be displayed simultaneously in-person and online, or made available online after an in-person exhibit closes.

Primary Considerations: C2Pa, C2Pb, C2Ma, C2Mb, C2Va

C2Pa. Ability to make changes in-house

Perspective: Cultural Heritage Professional

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C2Pb. Potential for Documenting and archiving

Perspective: Cultural Heritage Professional

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C2Ma. Staff acceptance

Perspective: Museum

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C2Mb. Interoperability and Modularity

Perspective: Museum

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C2Va. Personalization

Perspective: Visitor

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C2Vb. Social Interaction and Sharing

Perspective: Visitor

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C2Vc. Continuity of usage

Perspective: Visitor

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Compliance Quartile

(MP1) Health, safety and accessibility

Accessibly is a core ideal of this project. Using web-based technologies – such as HTML, CSS and JS – enabled us to refer to established literature for the accessibility of web-based content, such as the World Wide Web Consortium's Web Content Accessibility Guide^[3]. These guidelines often include tests the quantify and score accessibility in a range of categories.

CLIO has an accessibility menu always accessible that can provide customizations to the content to make it more accessible, such as font face, text size and contrast modes. Activities also audiences enabling facilitators to use exhibit content that is better suited for their setup location or audience.

A glass screen made it easier to use disinfectant wipes on the screen and around the printed protective bumper. The only noted safety concern was the glass screen, which prompted the inclusion of a padded bumper and screen protector to mitigate potential harm caused by a cracked screen. Under heavy and continuous usage, POP kiosks can get warm to the touch but not uncomfortably so.

Primary Considerations: MP1Pa, MP1Pb, MP1Pc, MP1Ma, MP1Mb, MP1Mc, MP1Md, MP1Va, MP1Vb, MP1Vc

MP1Pa. Accessibility

Perspective: Cultural Heritage Professional

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MP1Pb. Appropriateness

Perspective: Cultural Heritage Professional

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MP1Pc. Safety

Perspective: Cultural Heritage Professional

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MP1Ma. Safety

Perspective: Museum

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MP1Mb. Emergency Management

Perspective: Museum

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MP1Mc. Disposal and recycling

Perspective: Museum

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MP1Md. Hygiene, cleaning and maintenance

Perspective: Museum

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MP1Va. Accessibility

Perspective: Visitor

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MP1Vb. Appropriateness

Perspective: Visitor

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MP1Vc. Safety

Perspective: Visitor

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(MP2) Logging and monitoring

User and system logging and monitoring is possible with CLIO, but it was purposefully steered away from as it is outside of the context of this application. Because CLIO is web-based and uses a descriptive URL, web-based analytics software could be used to monitor activity access metrics.

Primary Considerations: MP2Pa, MP2Ma, MP2Va, MP2Vb

MP2Pa. Logging and monitoring

Perspective: Cultural Heritage Professional

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MP2Ma. Logs storage, access, privacy, analytics

Perspective: Museum

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MP2Va. Personalization

Perspective: Visitor

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MP2Vb. Legal compliance

Perspective: Visitor

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MP3. Ethics and legal issues

MP3Pa. Protecting audiences

Perspective: Cultural Heritage Professional

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MP3Pb. Data gathering and protection

Perspective: Cultural Heritage Professional

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MP3Ma. Other legal issues

Perspective: Museum

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MP3Va. Trust and confidence in the museum

Perspective: Visitor

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Operation Quartile

(O1) Deployment and setting-up

CLIO is a suite of web applications that is designed to run on almost any computer system by using a web browser. This allows institutions to repurpose old computers for new exhibit kiosks. All of the content within CLIO is also easily updated, meaning that the same kiosk systems can be used throughout multiple exhibits. If the exhibit is portable, you can even bring it with you to outreach programs outside of your institution and set it up without any internet access.

With CLIO, we created a black box system that restricts that actions that a user can accomplish with a kiosk system. Users and facilitators are restricted to the CLIO interface with all access to the underlying systems completely disabled, making it more difficult for the system to be used incorrectly. Kiosk systems will automatically start into the CLIO web application without any interaction necessary. If there is ever a problem, simply restarting the kiosk will fix most problems. It is possible for the institution to edit the kiosk operating system to change configuration settings or create entirely new kiosk clones.

We wanted to create a kiosk and content creation system that could be handled by in-house personnel with access to the kiosks, applicable guides and minimal computer experience. This ecosystem was kept simple, with access to the inner workings of CLIO still accessible for those who did have coding experience. Once an activity is created for CLIO and placed on the kiosk, it will work without the need for any technical knowledge.

While working with the BurkeMobile, we monitored a facilitated event, as well as their setup and breakdown procedures. They were often working against a clock; needing to set up before a program, or needing to break down quickly to get to the next one. We needed CLIO to work as seamlessly and simply as possible, only requiring the facilitators to setup the kiosk and hit the power button to get it ready to add to an exhibit. Depending on their schedule or audience, they could reload their last exhibit or set up a new one with the activities on the kiosk. They could also configure the kiosk for specific event parameters, like turning on dark mode in a dark room. At the end of an event, they could unplug the kiosk without needing to power it down and pack it away safely for transport. By creating padded bumpers, they were easier to stack without damaging the screen. A hard screen cover was also considered.

Primary Considerations: O1Pa, O1Pc, O1Pd, O1Pe, O1Ma, O1Mb, O1Mc, O1Md, O1Va

O1Pa. Ease of use for installation

Perspective: Cultural Heritage Professional

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O1Pb. Distance monitoring

Perspective: Cultural Heritage Professional

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O1Pc. Workflow

Perspective: Cultural Heritage Professional

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O1Pd. In-house technical knowledge

Perspective: Cultural Heritage Professional

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O1Pe. Additional staffing required

Perspective: Cultural Heritage Professional

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O1Ma. Set-up and start-up parameters

Perspective: Museum

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O1Mb. Modularity and Interoperability

Perspective: Museum

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O1Mc. Staff and front-desk training

Perspective: Museum

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O1Md. Distribution, recovery and guarantee

Perspective: Museum

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O1Va. Visitor experience quality and customer care

Perspective: Visitor

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O1Vb. Visitor-owned devices

Perspective: Visitor

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(O2) Robustness and maintenance

Untreated PLA is recyclable through properly equipped Waste management. Damaged or defective electronics can be disposed of responsibly.

O2Pa. Environmental constraints

Perspective: Cultural Heritage Professional

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O2Pb. Robustness

Perspective: Cultural Heritage Professional

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O2Pc. Level of customized maintenance required

Perspective: Cultural Heritage Professional

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O2Pd. Updating and replacing

Perspective: Cultural Heritage Professional

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O2Ma. Storage Costs

Perspective: Museum

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O2Mb. Level of maintenance

Perspective: Museum

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O2Mc. Loss, deterioration, theft, replacement

Perspective: Museum

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O2Md. Reusing and disposing

Perspective: Museum

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O2Va. Robustness

Perspective: Visitor

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O2Vb. Responsiveness

Perspective: Visitor

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O2Vc. Stability

Perspective: Visitor

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O2Vd. Speed and speed of recovery

Perspective: Visitor

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(O3) Power and energy

O3Pa. Day to day running and maintenance

Perspective: Cultural Heritage Professional

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O3Pb. Stability

Perspective: Cultural Heritage Professional

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O3Ma. Interventions in the exhibition space

Perspective: Museum

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O3Va. Overall experience, preventing feelings of failure and frustration

Perspective: Visitor

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(O4) Costs

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Kiosks can even be made FROM recycled computers or filament.

O4Pa. Workforce, time, additional staff

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O4Ma. Financial Costs and Investment

Perspective: Museum

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O4Mb. Running and maintenance costs

Perspective: Museum

This section could use more detail. You can help by expanding it.

O4Va. Overall experience, prevent feelings of failure and frustration

Perspective: Visitor

This section could use more detail. You can help by expanding it.

(O5) Additional Resources

O5Pa. Instructions and “how to” guides

Perspective: Cultural Heritage Professional

This section could use more detail. You can help by expanding it.

O5Ma. Impact on adapting, financing, sponsoring

Perspective: Museum

This section could use more detail. You can help by expanding it.

O5Va. Uptake

Perspective: Visitor

This section could use more detail. You can help by expanding it.

References

[1] ttps://dl.acm.org/doi/10.1145/3297717

[:0-2] 2.0 ^2.1 https://www.collectiveaccess.org/

[3] W3C Accessibility Guidelines (WCAG) 3.0

[1]

[2]

[3]

@@ Line 78: / Line 78: @@
 ====D2Pa. Experience added value====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Pa}}
 ====D2Pb. Relevance to Audience====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Pb}}
 ====D2Pc. Tailored content====
 ''Perspective: Cultural Heritage Professional''
@@ Line 92: / Line 96: @@
 {{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Pd}}
 ====D2Pe. Social Interaction====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Pe}}
 ====D2Ma. Interpretive, Educational, Learning Potential====
+''Perspective: Museum''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Ma}}
 ====D2Mb. Personalization potential====
+''Perspective: Museum''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Mb}}
 ====D2Mc. Public Outreach and Communication Potential====
+''Perspective: Museum''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Mc}}
 ====D2Md. Big Data Potential====
+''Perspective: Museum''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Md}}
 ====D2Va. Engagement====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Va}}
 ====D2Vb. Personalization====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Vb}}
 ====D2Vc. Learning, Edutainment, Entertainment====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Vc}}
 ====D2Vd. Attentional Balance====
+''Perspective: Visitor''
 We wanted a kiosk that would integrate into the exhibit we were creating, while providing additional context or content, without being intrusive.  This required creating an interactive with a straight forward interaction paradigm. A kiosk system similar to the Many Voices project, where the user interacted with physical books, could create an interaction experience that greatly detracted from the BurkeMobile pop-up exhibit.  Initial BurkeBox prototypes allowed visitors to hold an object to a scanner to load information about the object, but we felt doing this in a pop-up exhibit would draw too much attention to the technology and risk visitors taking the pieces in error.
 Each activity was meant to provide an experience that required differing levels of attention from the visitor.  Many activities were meant to engage and intrigue without requiring deep focus.  The content was designed to be easily digestible text with accompanying visual components.  Activities would only provide as much information as the visitor desired, by hiding additional information behind intentional user action, such as clicking a button or navigating. We aimed to make content that was relevant to the objects on the table, to provide added value if desired, but it was not required to enjoy the physical nature of the exhibit and the pre-existing kinetic activities, such as arranging blocks.
+{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Vd}}
 ====D2Ve. Affective Impact====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Ve}}
 ====D2Vf. Social Interaction====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Vf}}
 ====D2Vg. Ability to follow usage on other platforms====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Vg}}
 ====D2Vh. Sense of belonging to a community====
 ''Perspective: Visitor''
@@ Line 113: / Line 141: @@
 We aimed to make activities that could draw a impactful connection with subjects the student already knew, such as people, animals, or places.  By keeping most of the interactive content regional, such as related to the Sockeye Salmon or Hanford Reach, we could provide a personal connection to the interactive.
+{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D2Vh}}
 ===(D3) Interactions, affordances, and interaction metaphors===
 BurkeMobile events were already loud and crowded so we chose to limit the sensory stimulation output by the kiosk.  POP did not contain any speakers or haptics and we hoped this would prompt visitors to interact with exhibit objects for sensory information.  This choice, however, made auditory experiences and accessibility features impossible initially.
@@ Line 123: / Line 152: @@
 ====D3Pa. Quality of Affordances====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Pa}}
 ====D3Pb. Suitability of interaction metaphors====
+''Perspective: Cultural Heritage Professional''
 We chose to use interactive activities for CLIO instead of static object pages, more similar to the BurkeBox project.  By designing a framework to create interactive activity templates, we could create new interaction metaphors that could more effectively communicate the points we were trying to make.  An interactive and looping slideshow could more effectively communicate the cyclical lifecycle of salmon than a static block of text.  With the initial release of the toolkit, there were fifteen activity templates.  The different experiences allow variety and unique experience within an interface that will work in an expected fashion.
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Pb}}
 ====D3Pc. Interface design====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Pc}}
 ====D3Pd. Clarity of navigation====
+''Perspective: Cultural Heritage Professional''
 We opted for a small capacitive touchscreen with a one-finger navigable interface designed primarily for accessibility.  This provided a familiar interaction paradigm to a cellphone or other touchscreen interface.   The kiosk allowed for device specific configuration so educational facilitators could change how the kiosk integrated with their exhibit.
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Pd}}
 ====D3Pf. Multisensoriality====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Pf}}
 ====D3Ma. (Ability to) follow-up usage on other platforms====
+''Perspective: Museum''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Ma}}
 ====D3Mb. Brand name, uniqueness, originality====
+''Perspective: Museum''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Mb}}
 ====D3Va. Utility, usability and ease of use====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Va}}
 ====D3Vb. Intuitiveness, learnability and learning curve====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Vb}}
 ====D3Vc. Responsiveness====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Vc}}
 ====D3Vd. Clarity of navigation====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Vd}}
 ====D3Ve. Personalization====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Ve}}
 ====D3Vf. Social interaction====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Vf}}
 ====D3Vg. Ability to follow-up usage on other platforms====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Vg}}
 ====D3Vh. Presence of multisensoriality====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D3Vh}}
 ===(D4) Aesthetics, look and feel and visceral qualities===
 It was important that the POP kiosk followed the brand and design language of the BurkeMobile exhibits so that it could better blend in without being intrusive.  The default CLIO interface is also customizable to allow the Burke to make the interface meet their design style guidelines.  We wanted to keep the interaction with the kiosk pleasant, through the use of a quality multitouch glass touch screen.   The kiosk case was printed in black with a protective bumper printed using the BurkeMobile design colors for the pop-up exhibit it was being included in.
@@ Line 148: / Line 206: @@
 ====D4Pa. Look and feel (materials, textures, colours, weight)====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D4Pa}}
 ====D4Ma. Brand name, uniqueness, originality====
+''Perspective: Museum''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D4Ma}}
 ====D4Va. Look and feel====
+''Perspective: Visitor''
+{{Stub}}{{See|MUSETECH_Evaluation_Criteria_by_Cluster#D4Va}}
 ==Content Quartile==
 ===(C1) Content creation===
@@ Line 160: / Line 223: @@
 ====C1Pa. Utility, usability and ease of use====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====C1Pb. Learnability and learning curve====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====C1Pc. Personalization and adaptation====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====C1Pd. Multilingualism====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====C1Pe. Community Support====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====C1Pf. Technology knowledge and support in the house====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====C1Pg. Interoperability====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====C1Ma. Continuity of usage====
+''Perspective: Museum''
+{{Stub}}
 ====C1Mb. Logging====
+''Perspective: Museum''
+{{Stub}}
 ====C1Va. Perceived Content Quality====
+''Perspective: Visitor''
+{{Stub}}
 ====C1Vb. Visitor-created content, creation and curation====
+''Perspective: Visitor''
+{{Stub}}
 ===(C2) Content maintenance===
@@ Line 179: / Line 274: @@
 ====C2Pa. Ability to make changes in-house====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====C2Pb. Potential for Documenting and archiving====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====C2Ma. Staff acceptance====
+''Perspective: Museum''
+{{Stub}}
 ====C2Mb. Interoperability and Modularity====
+''Perspective: Museum''
+{{Stub}}
 ====C2Va. Personalization====
+''Perspective: Visitor''
+{{Stub}}
 ====C2Vb. Social Interaction and Sharing====
+''Perspective: Visitor''
+{{Stub}}
 ====C2Vc. Continuity of usage====
+''Perspective: Visitor''
+{{Stub}}
 ==Compliance Quartile==
@@ Line 197: / Line 312: @@
 ====MP1Pa. Accessibility====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====MP1Pb. Appropriateness====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====MP1Pc. Safety====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====MP1Ma. Safety====
+''Perspective: Museum''
+{{Stub}}
 ====MP1Mb. Emergency Management====
+''Perspective: Museum''
+{{Stub}}
 ====MP1Mc. Disposal and recycling====
+''Perspective: Museum''
+{{Stub}}
 ====MP1Md. Hygiene, cleaning and maintenance====
+''Perspective: Museum''
+{{Stub}}
 ====MP1Va. Accessibility====
+''Perspective: Visitor''
+{{Stub}}
 ====MP1Vb. Appropriateness====
+''Perspective: Visitor''
+{{Stub}}
 ====MP1Vc. Safety====
+''Perspective: Visitor''
+{{Stub}}
 ===(MP2) Logging and monitoring===
@@ Line 213: / Line 357: @@
 ====MP2Pa. Logging and monitoring====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====MP2Ma. Logs storage, access, privacy, analytics====
+''Perspective: Museum''
+{{Stub}}
 ====MP2Va. Personalization====
+''Perspective: Visitor''
+{{Stub}}
 ====MP2Vb. Legal compliance====
+''Perspective: Visitor''
+{{Stub}}
 ===MP3. Ethics and legal issues===
+====MP3Pa. Protecting audiences====
+''Perspective: Cultural Heritage Professional''
 {{Stub}}
-====MP3Pa. Protecting audiences====
 ====MP3Pb. Data gathering and protection====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====MP3Ma. Other legal issues====
+''Perspective: Museum''
+{{Stub}}
 ====MP3Va. Trust and confidence in the museum====
+''Perspective: Visitor''
+{{Stub}}
 ==Operation Quartile==
@@ Line 237: / Line 402: @@
 ====O1Pa. Ease of use for installation====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====O1Pb. Distance monitoring====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====O1Pc. Workflow====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====O1Pd. In-house technical knowledge====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====O1Pe. Additional staffing required====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====O1Ma. Set-up and start-up parameters====
+''Perspective: Museum''
+{{Stub}}
 ====O1Mb. Modularity and Interoperability====
+''Perspective: Museum''
+{{Stub}}
 ====O1Mc. Staff and front-desk training====
+''Perspective: Museum''
+{{Stub}}
 ====O1Md. Distribution, recovery and guarantee====
+''Perspective: Museum''
+{{Stub}}
 ====O1Va. Visitor experience quality and customer care====
+''Perspective: Visitor''
+{{Stub}}
 ====O1Vb. Visitor-owned devices====
+''Perspective: Visitor''
+{{Stub}}
 ===(O2) Robustness and maintenance===
-{{Stub}}
 Untreated PLA is recyclable through properly equipped Waste management.  Damaged or defective electronics can be disposed of responsibly.
 ====O2Pa. Environmental constraints====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====O2Pb. Robustness====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====O2Pc. Level of customized maintenance required====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====O2Pd. Updating and replacing====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====O2Ma. Storage Costs====
+''Perspective: Museum''
+{{Stub}}
 ====O2Mb. Level of maintenance====
+''Perspective: Museum''
+{{Stub}}
 ====O2Mc. Loss, deterioration, theft, replacement====
+''Perspective: Museum''
+{{Stub}}
 ====O2Md. Reusing and disposing====
+''Perspective: Museum''
+{{Stub}}
 ====O2Va. Robustness====
+''Perspective: Visitor''
+{{Stub}}
 ====O2Vb. Responsiveness====
+''Perspective: Visitor''
+{{Stub}}
 ====O2Vc. Stability====
+''Perspective: Visitor''
+{{Stub}}
 ====O2Vd. Speed and speed of recovery====
+''Perspective: Visitor''
+{{Stub}}
 ===(O3) Power and energy===
+====O3Pa. Day to day running and maintenance====
+''Perspective: Cultural Heritage Professional''
 {{Stub}}
-====O3Pa. Day to day running and maintenance====
 ====O3Pb. Stability====
+''Perspective: Cultural Heritage Professional''
+{{Stub}}
 ====O3Ma. Interventions in the exhibition space====
+''Perspective: Museum''
+{{Stub}}
 ====O3Va. Overall experience, preventing feelings of failure and frustration====
+''Perspective: Visitor''
+{{Stub}}
 ===(O4) Costs===
@@ Line 278: / Line 518: @@
 ====O4Pa. Workforce, time, additional staff====
+{{Stub}}
 ====O4Ma. Financial Costs and Investment====
+''Perspective: Museum''
+{{Stub}}
 ====O4Mb. Running and maintenance costs====
+''Perspective: Museum''
+{{Stub}}
 ====O4Va. Overall experience, prevent feelings of failure and frustration====
+''Perspective: Visitor''
+{{Stub}}
 ===(O5) Additional Resources===
+====O5Pa. Instructions and “how to” guides====
+''Perspective: Cultural Heritage Professional''
 {{Stub}}
-====O5Pa. Instructions and “how to” guides====
 ====O5Ma. Impact on adapting, financing, sponsoring====
-====O5Mv. Uptake====
+''Perspective: Museum''
+{{Stub}}
+====O5Va. Uptake====
+''Perspective: Visitor''
+{{Stub}}
 ==References==