ON LINE EXHIBITS
The on-line Cafe Wall Illusion exhibit is one of a series of on-line exhibits
based on existing physical Exploratorium exhibits. These on-line
exhibits are designed expressly to work directly on the screen.
The Cafe Wall illusion at the museum demonstrates a visual effect
which occurs when you look at a wall of alternating misaligned black
and while tiles. Based on an effect first noticed by the British
psychologist, Dr. Richard Gregory, on a cafe wall in Bristol, in
the illusion the horizontal lines of a tile set to look to be slanted
rather than straight when the black and white tiles are separated
by gray mortar and misaligned vertically. This effect disappears
if the mortar color is changed to match the tile color or if the
tiles are aligned one above each other.
In the on-line version of this exhibit, created by Ron Hipschman,
the user can change the color of the mortar or move the tiles to
make the effect appear or disappear. Sliders under user control
allow the on-line visitor to change what they are seeing. The exhibit
works directly on the screen just as it does in the museum setting.
The interactivity is direct and to the point and the user can experiment
with various alternatives at their own pace. The design of this
resource (just like that of the physical exhibit) places the effect
front and center to encourage play and manipulation first rather
than text and context.
ON-LINE DEMONSTRATIONS
The Cow's Eye Dissection was one of our first on-line resources
and was developed by the Exploratorium for the Science Learning
Network in 1995. SLN is a project of science museums to use on-line
museum resources and telecomputing to support K-8 inquiry-based
school science instruction sponsored by the National Science Foundation
and Unisys Corporation. Created by Jim Spadaccini, the Cow's Eye
Dissection is an on-line version of the popular Exploratorum demonstration
of the same name. Designed to present many of the features of the
physical demonstration and to encourage on-line visitors to do their
own cow's eye dissection, it includes a step by step visual presentation
of a dissection, tips from high school explainers, and information
about where to get cow eyes.
Besides obtaining the content of this resource directly from the
museum demonstration, we tried to add an exhibit-like atmosphere
to the on-line experience. An important feature is the addition
of audio commentary by the explainers which adds to the verisimilitude
of the experience. The real stories of the explainers who do these
demonstrations everyday gives the experience an authenticity which
makes it more compelling to view. A museum demonstration is part
object, part show, part audience interactivity ands this Web resource
provides each of these elements for the on-line user.
ON-LINE EXHIBITIONS
The Turbulent Landscapes project was designed to create an on-line
exhibition which was closely related to a physical exhibition. The
Turbulent Landscapes exhibition at the museum contained over 20
artists works which related to aspects of nature which demonstrated
the new field of complexity studies.
The Website, designed by Zane Vella, used existing exhibit images,
the exhibit audio tour and the exhibition spatial layout to present
an on-line exhibition. To help exhibit visitors develop a deeper
understanding of the physical exhibition, the Website was designed
to be presented on the exhibit floor near the exhibit as well as
to be viewed on-line by remote users. A complexity timeline and
a complexicon was added to provide background information. This
on-line resource took advantage of the material collected for thecreation
of a physical exhibit to create an on-line in-depth experience.
It also explored the spatial dimension of the Webspace as a way
of organizing information about the site. The on-line experience
was designed to be rich and multifaceted in the manner of the physical
exhibit.
ON-LINE CONVERSATIONS ABOUT AN EXHIBITION
Remembering Nagasaki was developed three years ago as a memorial
for the 50th anniversary of the dropping of the atomic bomb on the
city of Nagasaki in Japan. Created by Exploratorium staff Ali Sant,
Marina McDougall and Susan Schwartzenberg, this Website exhibition
was based on the photographs of Yosuke Yamahata, a young army sergeant
in the Japanese army, who was sent to Nagasaki to photograph the
aftermath of the atomic bombings. The Website exhibition appeared
on the exhibit floor of the Exploratorium as well as in cyberspace
on the Exploratorium server and was designed to provide visitors
a chance to explore the relationship between memory and historical
events.
The Website contained four primary areas. The first was a "Gallery"
presentation of the photographs of Kosuke Yamahata. These were be
displayed full-screen, and were presented in a way that gave the
images the full power that they deserved. The navigation was designed
to be very simple and straight forward, and the experience invoked
to some degree what it would be like to tour around a gallery of
these images on bare painted white walls. The second area was "Atomic
Memories" where comments made by visitors about their experience
of the Nagasaki bombing were accepted by e-mail and posted on the
site. These comments were formatted into a threaded discussion by
curator by Ali Sant. The "Commentary" part of the Website invited
the public to comment on whole experience of living in the atomic
age. The "Commemorations" section of this exhibition was about memorials,
in this case a discussion of what it meant to memorialize something
such as this event, with links to the memorials that were created
for this particular anniversary. This part made use of the real
strong connectivity aspect of the web in its presentation of connections
to many sites, including the home page of the city of Nagasaki
Taken as a whole this web site was an encapsulated museum exhibit
visitation. Physically, the Website could be visited at the Exploratorium
or from someone's home. Cyberly, the exhibition provided an opportunity
to discuss the ideas as if one might with a friend at the gallery.
The same principles of image manipulation, or evocative questioning,
of allowing interaction between people which work on the museum
floor worked on the cyber exhibit floor as well. The extraordinary
discussion that developed during the months that this exhibit was
on-line far exceeded any of our expectations of community dialog
and lead us to the conviction that this new tool of the Web provided
museums with a new way of interacting with its public.
ON-LINE EXPERIENCE WITH EXPLORATION
Recently, the Exploratorium has extended its work of connecting
the museum to the cyberworld by creating a program of real-time
networked exhibition experiences. The Live @ the Exploratorium project
being developed by Zane Vella is designed to connect a remote field
experience of scientific discovery in real time with an audience
on the exhibit floor of the Exploratorium and then to use this interaction
as the basis for a program that is Webcast on the Internet. In Live
@, the remote field experience appears as an exhibition on the exhibit
floor, and the audience interaction with the remote field experience
appears as an interactive program for viewers in homes and schools
anywhere in the world.
For the initial test of this idea, Hubble Servicing Mission:
Looking Beyond Boundaries the Hubble Space Telescope servicing
mission by the space shuttle in February 1997 was used as a foundation
for a series of 14 real time Webcast programs. These programs presented
the science of the servicing mission, background on the Hubble telescope
as an instrument of observing the world, and discussions with the
scientists and the technicians who are involved in the support of
the telescope's functions. The audience at the Exploratorium could
ask their questions of Hubble Space Telescope scientists and discuss
space science with Exploratorium staff. This program was Webcast
on the museum's Website and net visitors could e-mail or call in
their questions to the experts. A prototype Webcast studio to host
this event was built on the exhibit floor. The success of this program
demonstrated the potential viability of on the floor Webcasting
and remote audience engagement. We had almost 1000 visitors on site
over 10 days and over 20,000 on-line users.
In the spring of 1997 a second test Webcast project called Eyeing the Storm was created for schools which presented the
art and science of severe storm visualization. A series of on site
and remote interviews were presented on the Web and in person at
the museum along with imagery of storm visualization and real storm
footage. Each production was offered to a specific classroom. A
series of five programs were produced from a small on-floor production
center.
Most recently, as part of the total solar eclipse of February 26,
1998 the Exploratorium presented its third Live @ the Exploratorium
production titled Eclipse: Stories from the Path of Totality. For the February
eclipse totality was only visible in parts of the Galapagos, South
America and the Caribbean. This project provided the excitement
of attending a total solar eclipse to a live audience at the Exploratorium
and to a world wide Internet and television audience. The goal of
this program was to provide the experience of being at the eclipse
as well as provide context for the event by with science experts,
exhibits, visual material and Web material that would present the
background of the eclipse for the audience at the museum and on-line.
The eclipse program was produced for a live audience in our new
1500 sq. ft. Webcast studio built on the exhibit floor of the museum.
It involved the development of a comprehensive Website on the Exploratorium
server along with live two-way production from with an Exploratorium
crew which originated from a viewing site on the island of Aruba.
Zane Vella and served as coordinating producer for the project and
with the help of Noel Wanner produced the Webcast program from the
Webcast theater. The Exploratorium sent a field expedition team
including Marina McDougall, Kurt Keppler and Ron Hipschman to Aruba
to provide coverage of the total eclipse. They were joined by a
reporter for Discovery On-line, Hannah Holmes. The eclipse Website
was produced by Jim Spadaccini with stories developed by Exploratorium
staff.
Our idea was to use the activity of the total solar eclipse, which
is highly interesting to a broad public, as a vehicle to present
aspects of current research on the Sun-Earth interaction. We also
wanted to provide a background of past history and the social and
cultural aspects of eclipse viewing to help support a discussion
of the long-standing interest of people in viewing eclipses wherever
the occur around the world. This project was a collaboration between
the Exploratorium, NASA's Sun Earth Connection Education Forum which
is designed to educate the public about the scientific research
activities surrounding the sun and it's relationship to the earth
and Discovery Channel On-line, which presents to its on-line audience
coverage of scientific events happening around the world. We were
fortunate to be able to connect with the Science Museum of Minnesota's
travel program which provided a trip for its members to the Aruba
viewing site.
The new Webcast studio on the exhibit floor of the museum was the
key locus of activity, serving as the production as well as educational
nexus for this networked event. The production studio is open to
the exhibit floor and can hold up to 100 people seated and many
hundreds more standing in different locations around the outsides
of the studio space. It is designed to be operated by a host who
interacts with guest scientists and staff on site at the Exploratorium
and with remote scientists and guests from locations around the
world. The interaction between the audience and the scientists both
at the Exploratorium and at remote locations serves as the content
material which was produced and streamed through the Internet from
the Exploratorium. The Webcast was visible within the eclipse Website
which included background material on the eclipse, the various stories
of past eclipse events, as well as a Webchat, e-mail dialog, and
archive of images. The studio is designed so that the public can
replay past events from an archive as well as view new events.
Because of the difficulty of providing two-way IP communication
to the island of Aruba, NASA provided a high-bandwidth datalink
between the island of Aruba and the Internet using the TDRSS Communication
Satellite system. This allowed for sufficient bandwidth to provide
both two-way communication to the island of Aruba, as well as Webcast
video streaming from Aruba. For the period of the eclipse itself,
we also provided a standard one way television satellite video feed
from Aruba which was used by large group viewing at schools and
museums. In the Webcast studio, three large monitors -- two video
and one data -- provided images of the eclipse and information from
the Internet. Distributed monitors on the floor of the museum provided
additional viewing sites for the public.
A preview event Webcast was held the night before the eclipse.
Guests at the preview program included solar science researchers,
Exploratorium scientific staff, as well as visitors in Aruba that
were awaiting the next day's eclipse, and stories from archeoastronomer
who talked about past eclipse events. The Webcast of the eclipse
itself occurred during a two hour Webcast Thursday morning and was
a mixture of video feeds from the floor of the Exploratorium as
well as from the Aruba event. The backup video feed was also carried
by news services in the United States and around the world including
real time coverage by CNN. The eclipse project recorded over 500,000
users of the Website, over 10,000 viewers to the Webcast itself,
and millions of people received the images and interacted with the
event through the television broadcast component of the project.
Live @ the Exploratorium places the museum squarely in the center
of the design and development of public experiences of exploratory
discovery in the world. Future proposed projects include a series
of programs on earthquakes, an examination of the underground aspects
of a city and the presentation of the research on the discovery
of the complete genome of species to name a few. This project demonstrates
the potential for opening a museum transparently to the world at
large through the use of telecommunication and network while maintaining
the museum's central role as an interpreter of objects and events,
and as creator of social experience of discovery.
CONCLUSION
As these examples have hopefully shown, museum design and Web design
can have a strong interrelationship. Museum sensibilities such as
thinking of 3-D exhibits not 2-D books and providing experience
not just information mean that museum Web sites can be fundamentally
different and more inviting than many designs today. As museum professionals
we should not leave our museum design sensibilities on the doorstep
as we step into the Web design world. Our spatial, informational
and experiential proclivities can serve as in good stead as we look
how to use this new medium to fulfill our mission as museums in
the future.
Rob Semper
Center for Media and Communication
The Exploratorium
3601 Lyon Street
San Francisco, CA 94123
robs@exploratorium.edu
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