InformalLearning The Informal Learning Review - No. 97. July - August 2009

tables and supplies like easels, foam core COSI'S EXPERIENCE boards, etc. may be used. CONTENTS TESTING STATION While certainly not the first "fishbowl" type of area Risk & Reality Rita Deedrick used by a science center or other informal learn- ing environment to test experiences, the COSI Colloquium Intro What is the COSI Experience Testing Station? ETS is unique in its mobility and flexibility, and it Page 12 represents an important shift in thinking at COSI The COSI Experience Testing Station (ETS) is a vis- about how to develop experiences and what con- ible area within (and sometimes outside) the stitutes a visitor experience. Risk for a Reason COSI science center that makes explicit the "sci- Page 14 ence behind the science" of COSI by testing con- Why is the Experience Testing Station important cepts, language, signs, activities, and other ele- to COSI? ments of visitor experiences directly and visibly Exhibits as with COSI visitors. As much a concept as a phys- Real data/intended audiences. First, the COSI an Environment ical space, the COSI ETS is mobile and can be ETS enables COSI to use data to inform experi- moved anywhere on or off-site and sized to meet ence development in a way that has rarely been for Risk the need of a particular test. The physical materi- done before. COSI has a long history of devel- Page 15 als are simple: two signs; a sign holder; rope oping and presenting programs and exhibits. stanchions to demarcate the space to fit the need However, the use of data gathered directly from of the test; one or two small "cabaret" type tables visitors (or potential visitors) to inform develop- A Perspective to hold supplies; and a 4" x 6" whiteboard on ment has been sporadic and always "behind wheels (this large piece, while easy to move closed doors," detached from the notion of a About Risk around the COSI facility, does not travel for off- COSI visit experience. This prevailing philosophy Page 16 site tests). Depending on the test, additional See “COSI,” continued on page 2

"Museum Fatigue" the Persians in 480 BC. The symbolism is power- Page 18 THE NEW ACROPOLIS ful, as the current Parthenon includes foundation MUSEUM - GREECE blocks of the ruined original temple to Athens' patron goddess, reminding Athenians of the dark Outcome of CELEBRATES events of their past as well as their architectural Expanding and cultural triumphs. Robert Mac West and Jean S. West Informal Science There has been a formal museum atop the After many years of planning, disputes and law- for Latinos Acropolis, adjacent to the Parthenon, the Temple of suits, and unanticipated archeological discoveries, Athena, since 1865. This was a modest facility, Page 22 the new Acropolis Museum opened in Athens, some 15,500 square feet, with approximately 450 Greece, on June 20, 2009. We had the delightful objects on display. The 19th century building lacked opportunity to visit it on August 28, 2009 – ten even elementary environmental controls and was Actual Call weeks and 523,540 visitors after the opening. Center tired when Jean first visited it in 1973. It was even more so when we both toured it in 2000. Conversation This commentary includes a discussion of the his- tory and setting of this extraordinarily important The replacement is a totally different story. It is Page 27 museum, a walk-through with our comments and located at the southern base of the Acropolis, observations, and a series of thoughts about some thousand feet from the Parthenon but the issues within and provoked by the new museum. More on temple remains in full view. It is some ten times larger, displays over 4,000 artifacts, is fully environ- The Acropolis itself, rising to 500 feet above the Responses to the mentally controlled, and the exhibits are bathed in city of Athens, has been the site of significant Recession natural light. While some of the objects are well- public buildings central to the religious and politi- known (such as the pediment of the Archaic Page 28 cal life of Greece since Neolithic times. The cur- Parthenon, various of the Parthenon friezes, the rent array of structures was begun in the 5th cen- tury BC as replacements for those destroyed by See “Acropolis,” continued on page 5

A PUBLICATION OF INFORMAL LEARNING EXPERIENCES, INC. COPYRIGHT 2009 INFORMAL LEARNING EXPERIENCES, INC. THE INFORMAL LEARNING REVIEW, July - Aug., 2009

“COSI,” continued from front cover stantly reminded of the importance of development process. These comments data collection and analysis to inform all came from both members and non- of experience development has been of our work. Indeed, many staff mem- members of COSI, and are a key to likened to an artist who does not want the bers stop by the ETS during tests to see COSI's continuing quest to deepen rela- piece revealed before it is finished - a so- what's going on. Whenever possible, tionships with people in our community. called "white veil" approach to experience researchers take the time to chat with staff For example, a non-member who partici- development. Certainly many organiza- members and always invite them to stay pates in an ETS may consider becoming tions such as Disney use this approach to and watch. a member of COSI because they now their advantage. But the drama and feel vested in the organization; a COSI excitement that can be generated from A new kind of visitor experience. A third member may upgrade their membership such an approach comes at the cost of reason that the ETS is important to COSI because they feel involved in improving leaving the audience out of the develop- is a shift in attitude about what constitutes experiences. We have no evidence that ment process and the risk of developing a "visitor experience." That is to say, the this has taken place, but it is clear that experiences that may, in fact, not be the ETS itself is now recognized as a legiti- most people feel "involved" in COSI from best they can be for the intended audi- mate visitor experience. This resulted having participated in an ETS test. ences. It can be argued that not-for-profit from initial pushback by the COSI staff organizations have an obligation to on the ETS being disruptive involve their publics in the development to the visitor experience process, and that "artist's privilege" has no and not "attractive" enough place in an organization whose mission is to be on the exhibit floor - to serve its constituents. a distraction rather than an attraction. The team The COSI ETS makes input from the pub- members testing the ETS lic - real data - easily available to COSI took these comments to program and exhibit developers. With heart, knowing that the help of in-house researchers, tests can addressing these satisfac- often be planned, implemented, and torily was the only path to documented within several days. ETS leaving the "white veil" phi- tests are designed to be quick-turn; a losophy behind. To that small amount of data can be a great end, effort is made to pre- help in informing decisions at important sent the ETS as an experi- milestones in a project. ETS is relatively ence in and of itself. For inexpensive, fast, and accessible - though COSI staff instruct visitors on activity to test ideas for global example, COSI had signs warming exhibit. not completely free of costs, a notion (a 22" x 28" that fits into a which will be addressed later. Great standard, stand-alone sign holder, and a Better experiences are created. The pri- effort has been made at COSI to make 1" x 6" permanently attached to the top of mary reason for conducting tests on any the ETS "painless" for experience develop- the whiteboard) professionally designed experience element is to ultimately devel- ers so that they may see visitor studies and produced and these are always pre- op "better" experiences. "Better," of through the ETS as a regular part of the sent to clearly identify this experience. course, is subjective and implies a need development process. These signs and their design are in effect for improvement - how does one really becoming a sub-brand within COSI to know what is "better?" The ETS at COSI Awareness of visitor studies. Another rea- represent this particular experience. provides a platform to systematically son the ETS has become so important to Thought has been given to other staff gather data to inform decisions - "better" COSI is that the COSI staff at all levels of suggestions such as costumes (e.g., a lab becomes clearer through data. the organization have new awareness of coat with our sub-brand graphic) and the role of visitor studies in general - and even a mascot (the latter is somewhat in A case in point was a test of language for data in particular - in experience develop- jest, but has not been completely ruled signs to be placed in COSI restrooms ment and implementation. Because the out). (yes, restrooms can be "experiences"). ETS is highly visible to the staff as well as The primary purpose of these signs was the public, and because COSI invited Participating = relationship development. to explain why COSI no longer provides input into the evaluation of the ETS pilot A fourth reason why the ETS is important paper towels and the secondary mes- from all staff, the staff is fully aware of the to COSI comes from data gathered dur- sages were COSI's sustainability stand ETS and for the most part sees its value to ing the pilot of the ETS. During that time and COSI's concern for visitor comfort COSI. To keep this awareness top-of- (August 2008), COSI asked all visitors and safety. There was considerable mind, each ETS test is communicated to participating in ETS tests to answer some angst on the part of the COSI staff that the staff through various internal commu- additional questions about the ETS expe- this change was going to be difficult for nication channels. This not only serves a rience. Many of the visitors interviewed visitors, and that no amount of signage practical operations function ("hey, we're stated that the ETS made them feel part would alleviate the perception of poor vis- going to be taking up some space in the of COSI and that they liked the fact that itor service. Could "the right wording" atrium today"), but keeps the staff con- COSI invited the community into the really make a difference? Through the

2 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

ETS, COSI asked visitors to compare three "Labs in Life" title; however, the word emerged. The realization that data collec- different versions of the sign and asked: "Labs" for some means beakers and tion didn't have to be complicated, and "Which of these best conveys some new Bunsen burners, and for other - dogs. there needn't be dedicated space, spurred information about COSI's use of paper The popularity of Labrador Retrievers Mr. Shaw into suggesting the fishbowl idea towels in the restrooms?" and "Why?" made its way into several concept maps; to his exhibits colleagues. Although two of the three versions tied it seems that some were ready for an for the number of "best" votes, the exhibition on "man's best friend." This ETS An additional factor in the creation of the responses to the "why" question tipped test assured COSI that with a little mes- ETS at COSI was COSI's partnership with COSI to the version with more empathy sage management, the "Labs in Life" title The Ohio State University, and specifically for the visitor. This sign was chosen, and was suitable for the new exhibit area. the creation of the first university extension in the six months since the paper towels office located at a museum. OSU have been removed from the restrooms, Why does the ETS work at COSI? Extension@COSI is embodied by Dr. Joe there has been only one official visitor Heimlich, an Ohio State University profes- complaint. The ETS test helped COSI There are several factors contributing to sor, who had established an office in the manage change (for both our visitors the success of the development and COSI facility just prior to the "fishbowl" and our staff) by informing the choice for implementation of the ETS at COSI, idea coming to light. Dr. Heimlich recog- the better language. including the involvement of key people in nized the potential in the idea and proved the development of the concept; the tim- to be an important catalyst in implement- Another test involved the title of a pro- ing of the implementation of the ETS dur- ing this change. Dr. Heimlich's unique posed new exhibit area, "Labs in Life," ing a period of change at COSI; and the role of being both an "outsider " and an which is a collaboration between Ohio careful piloting of the ETS before claiming "insider" to COSI placed him in a position State University researchers and COSI, it to be a continuing part of the COSI both of authority on the matter of visitor where university scientists conduct development process. involvement in experience development research at COSI in view of visitors, and and of trust in knowing what is good for sometimes with visitors. The "Labs in Life" Key players. The idea for the ETS came COSI. His endorsement of the idea name became ingrained in the COSI from within the division at COSI that devel- helped to encourage the exhibits depart- vocabulary long before the project was ops exhibit experiences. John Shaw, ment's willingness to test the idea and made public. Was this name we were so COSI's Director of Exhibit Operations, brought the matter to the attention of used to using really appropriate? What engaged in a conversation at the American COSI management. images and expectations does "Labs in Association of Museums annual meeting in Life" conjure for our visitors? COSI ETS Denver about a desire to both do more Timing and culture change. While key used concept mapping to test the "Labs in exhibit and experience testing with visitors players worked to create the ETS, the tim- Life" title. While this test did not reveal a and to make more obvious the evaluation ing of the idea is also a crucial factor in "better" name, it did give COSI ways in and visitor studies work that we do. From the success of the ETS. COSI - like so which to address expectations. Overall this, the "fishbowl" idea - where visitors can the data revealed concepts in line with the both participate in and observe research - See “COSI,“ continued on following page

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3 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

“COSI,” continued from previous page time, we developed a planning template emotional responses could influence the and documentation guidelines for each testing; "clients" were invited to observe, many organizations - was (and still is) experience, gathered (in some cases bor- but never pushed to be involved in the undergoing tremendous change includ- rowed) materials to set up the ETS, and actual test.) ing significant change in the culture began working with the COSI operations underlying much of the work of the sci- staff to secure space and to be sure that Also during the pilot, we systematically ence center. This change is part of the these tests could be incorporated into collected data about the pilot from visitors normal evolution of any organization, COSI daily operations. who participated and from COSI staff. and was sparked at COSI by its facility For the visitors, a short interview was con- move in 1999 and more recent change From a research perspective, we took this ducted with each visitor asking why they in senior administration. Organizational time to shape systems and processes for thought COSI was doing this kind of change on this level is never easy, fast, or testing. For example, we assigned a work and what they thought about being predictable, and new ideas can fall flat if researcher (one of three COSI staff/part- involved in it. No responses were nega- not presented within the right configura- ners trained and experienced in visitor tive, and responses ranged from mild tion of circumstances. Nevertheless, the studies) to each test to develop the proto- interest to feeling it important to involve idea of the ETS came at a time when the col, analyze the data, document the find- others in decision-making. science center departments responsible ings, and oversee the test in general. In for the development of programs and many cases the researcher was also the For the COSI staff, a one-page question- exhibits were ripe for ideas and open - if data collector, though all three naire was developed asking a mix of tentatively - to suggestions for change. researchers collected data for each other's scaled and open-ended questions about Care was taken for the ETS idea to be led tests, and we also hired college students the value of the ETS, the impact of the ETS through a deliberate decision-making to help collect data during the pilot. on the visitor experience, and how they process, and piloted before any conclu- believed the ETS could be made more sion could be drawn about its success or Each test also had one staff member useful for COSI or more interesting for vis- continuance at COSI. named as the internal "client." Though itors. Researchers pro-actively handed the these staff members often involved other questionnaires to all staff members who The pilot. By conducting a pilot of the staff members in the test, we felt it impor- were observed in the vicinity of the ETS ETS, COSI modeled the very thing that tant for the researcher to have one staff and also invited the staff through numer- the ETS was implementing. The first step member who was ultimately accountable ous emails to complete the questionnaire in the creation of the ETS occurred several for the test, and to mitigate any potential (an on-line version was also made avail- months before the ETS concept was fully internal conflict among staff members able) or otherwise relay their comments formed when a COSI developer request- about the test or the experience develop- about the ETS pilot. Although a minority ed help in testing a computer game pro- ment. This staff member also had of staff actually completed the question- totype for a new exhibit. The COSI responsibility for preparing materials naire, it was important that all staff had research staff developed a protocol for (i.e.,signs to be tested and providing lan- ample opportunity to voice their opinion testing, collected data by observing and guage for concept testing, etc.) and help- about the ETS pilot. The results of the talking with test subjects, and analyzed ing with any logistical challenges in get- questionnaire were mostly positive as to data and presented the findings to the ting set up. The "client" was not permitted the value of the ETS, but there were linger- developer. This all occurred within several to collect data directly, but was invited to ing concerns about the immediate impact days and proved valuable to the contin- observe the testing in action. of the ETS on the visitor experience. These ued development of the game. Without (Interestingly, most "clients" deliberately were that the ETS looked "temporary" and knowing it (or naming it), we had con- stayed away from the testing in progress was not in alignment with the graphics ducted our first ETS test, though with some as they recognized that their biases or and presentation of other COSI experi- important differences from today's ETS; for ences. While some staff this first foray into testing, our subjects members accepted the ETS were COSI staff members, and the test as "it is what it is," others was conducted "behind the scenes" out of felt that the look of it need- public view. Even with these differences, ed to be brought up to all COSI staff involved in the test recog- COSI's graphics standards. nized the possibility of doing this on a reg- The result of this was the ular basis and the value of the results. creation of professionally However, there was still considerable hesi- produced "look" for the tation to take testing out into the public, ETS in the form of the but that is the leap of faith that the value signs that are now consis- of this first experience allowed. tently used to identify the ETS experience. For the month of August 2008, COSI conducted eight tests under the This thoughtful and delib- "Experience Testing Station" name in the erate vetting of the idea atrium of the COSI facility. During this COSI staff interviews visitors at ETS. and pilot testing allowed

4 THE INFORMAL LEARNING REVIEW, July - Aug., 2009 the "fishbowl" idea to take root, and gave Garnering help for the actual data collec- inform decisions about a project, and 2) COSI insight into how to make the ETS tion takes some pressure off of the there was no negative impact on the work in the real environment. researcher, but that, too, is challenging COSI visitor experience in helping devel- when a development budget doesn't op a concept for another museum (the What are the present and future of the allow for hiring of hourly help (i.e., col- other museum was not named, so it is COSI ETS? lege students) or the help simply isn't unclear how aware ETS subjects were that available. There is an effort underway at they were helping another museum). While the ETS has been in existence for COSI to develop data-gathering capacity just over a year, there are still challenges among staff, but time resources are tight COSI is considering whether or not the to be addressed and future potentials to in every department. One positive devel- ETS can be expanded for use by outside be considered. opment is that some internal clients have clients, and whether or not such use can become savvy enough about the use of be a revenue source for funding research Cost and capacity. The material cost for data to be able to assist with their own and evaluation at COSI. Certainly fees the ETS is minimal. The original set up data collection. While this is fraught with would have to cover the cost of the ETS cost was just over $100 for supplies, concerns about objectivity, COSI is also itself, but could enough revenue be gen- albeit the ETS still depends on the use of carefully looking at this as a possible erated to support other research and shared resources such as the sign holder turning point for staff development in the evaluation at COSI? Could we reach a and stanchions (the mobile whiteboard greater area of experience development financial tipping point when COSI could was donated by the programs team and with the goal of developers being more afford a full-time manager of the ETS, the ETS has since purchased its own involved in evaluating experiences. ETS allowing the ETS to be more readily avail- cabaret tables). However, the true cost of tests and other evaluation activities will able to its own staff? And what criteria the ETS is in the time it takes to develop always have oversight of a researcher not should be established for the kinds of and implement each test. The paradox directly involved in the project develop- things that would be tested at COSI? of the ETS is that it is designed to be easy ment; however the ultimate goal at COSI Would tests always have to be related to and quick-turn, and compared to most is a staff knowledgeable about visitor science or learning, or could COSI justify research or evaluation projects, it is, but studies and able to engage in visitor stud- non-related product testing by continuing the reality of time as a limited resource ies for their own work on some level. to present the ETS as science in action? must be taken into account. An analysis Like the initial development of the ETS, of recent ETS projects shows researcher Nevertheless, until time and capacity these questions will have to be carefully time at about 8 to 12 hours for a typical issues can be further resolved, the COSI considered and thoroughly tested. ETS project. This includes the initial con- ETS must be careful to avoid being a vic- versation with the "client," identification of tim of its own success. At the end of a full year of experience the research question, development of the testing at COSI, the advantages far out- protocol and instruments, gathering of Revenue generating resource. During the weigh the disadvantages. While chal- materials, setting of the logistics (including ETS pilot, one of the eight tests was a lenges in capacity and scheduling persist, finding data collectors, if needed), collect- concept test for a client from another the change in the perception of the role ing data, analyzing data, documenting museum. This, in and of itself, was a test of visitor studies, the accessibility of useful results, and debriefing with the "client" - all of the ETS as a possible resource for data, and the willingness to expose well worth the time, but not without some those outside of COSI. This particular COSI's research and development work scheduling hassles. The 8 to 12 hours of ETS test was successful in two important are reflective of greater change at COSI. researcher time is typically spread over a ways: 1) like the other ETS tests, it pro- In its own way, the COSI Experience week or two, depending on how quickly duced results for the client that helped Testing Station represents COSI's shift in the "client" needs the its overall way of doing business - being results. (The fastest ETS more systematic in data collection and was conceived, implement- use as well as a renewed drive toward ed, and debriefed within a creating and delivering cohesive mes- four-hour period, but that sages and experiences that are truly visi- was far from typical and tor focused and data informed. necessitated some fast reworking of schedules.) Rita Deedrick is the Senior Director for With a small research staff, Research and Evaluation at COSI anchored by only one full- Columbus, OH. She may be contacted at time COSI team member, [email protected]. there is inevitable negotia- tion on the timing of the ETS. This is a delicate dance as the value of the ETS is in fast results, but not everything can be put aside COSI visitor organizes messages that test global warming for an ETS request. exhibit.

5 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

“Acropolis,” continued from front cover Then the painstaking transfer of objects of cylindrical columns (actually 43) which from the old museum next to the elevate it above a remarkable and dense Caryatids from the Erechtheion), others Parthenon took place. This required use urban archeological excavation. And have been in storage and never accessi- of major large equipment and extremely even if the visitor's initial approach is ble to the public. Still others come from careful attention to the packing of incredi- directly into the front door of the museum the excavation of the site during construc- bly priceless objects. This was successfully from the Acropolis (north) side, the exca- tion of the museum building. completed in 2008 when the museum vation is visible from the entrance plaza. opened to limited public viewing. Finally, In fact, transparent panels (with painted The Acropolis Museum is unique among the entire €130 million project was com- black dots to assist those with vertigo) in major art/history/archeology museums pleted and opened to the public on June the plaza itself reveal the excavations, as (e.g., the Louvre, Paris; the British 20, 2009. does a large opening only a few yards Museum, London; the Metropolitan from the building entrance. Thus, even Museum of Art, New York; the Art Institute The Acropolis Museum Experience before entering the building, visitors have of Chicago; Los Angeles County Museum a sense that the experience ahead of of Art; the Indian Museum, Calcutta; and As we initially approached the museum, it them will be unusual. the Art Gallery of New South Wales, was clear that it is an architectural anom- Sydney - to name just a few) in that it aly, an ultramodern insertion into a late The archeological site beneath the build- includes only materials from a single 19th-early 20th century neighborhood. It ing exposes an Athenian city occupied archeological site, albeit a long-lived and doesn't fit well but, with its immediate suc- from the 5th century BC to the 12th extensive one. cess at bringing Athens' past to its pre- Century AD. The magnitude of the site sent, it's just fine. was certainly not anticipated by the local Although the media frenzy that accom- archeologists who now are reveling in the panied the opening tended to character- This is not an architectural review, but we remains of residences, wells, and streets ize it as an art museum, it really is much (like many others) compliment the archi- as well as items of daily life including more - it is a fabulous amalgam of art, tects on a masterful design. The designer coins, vases, cooking utensils and chil- archeology, anthropology, local and of the building is Bernard Tschumi dren's toys - to say nothing of a well-pre- regional history, and is a significant Architects of New York and Paris, with served 4th century marble bust of the national monument. Associate Architect Michael Photiadis, philosopher Aristotle. ARSY, of Athens. They did a remarkable The new Acropolis Museum was a long job of designing a museum that is acces- Excavations continue, and the museum time in the making. Initially conceived sible, celebratory about Athenian culture, plans to open the site to visitors via care- and announced in the '70s, the architec- light and airy, and appropriately oriented fully constructed and located walkways tural competition was not completed until toward and reverential to the Acropolis, within the next year. 2001. The architectural style was deemed the Parthenon, and the long history of by many to be far too modern for either Greek civilization. This is done despite its Even before passing into the formal exhi- the site or the subject and there were sig- intrusion into a traditional residential bitions, one encounters a non-narrated nificant disputes over location off the neighborhood. series of video clips that show the con- Acropolis itself, which necessitated property struction and occupation of the building. condemnations and multiple lawsuits. The triumphs of the building are that, first, Significant segments are devoted to the Over 25 early 20th century apartment it doesn't get in the way of the visitor expe- physical transfer of signature objects from building have been torn down, most after rience; second, it facilitates some very use- the old museum, down the steep hill, and extended legal condemnations. Two more ful and interesting insights into the into the new facility. This several-minute- buildings remain immediately in front of Acropolis and its neighborhood - past long video responds well to that frequent the main entrance to the museum; the and present; third, it protects and illumi- (but almost always unanswered) visitor museum is attempting the have them nates objects of immense heritage value; question: "How did they do that?" removed as well in order to have an unob- and fourth, by bathing those objects with structed view of the Acropolis from the natural light in large open spaces, pro- There are four primary exhibits in the lower levels of the museum. Prior to the vides very unique visitor experiences with museum building in addition to views of start of construction, a remarkable archeo- them. Finally, it takes full advantage of its the archeological site: logical site spanning 3,500 years of site, only 1,000 feet from and with spec- human habitation was discovered directly tacular views of the Parthenon atop the The Slopes of the Acropolis beneath the building itself that, after chal- Acropolis, to give this museum a presence lenges from archeologists, was excavated and a singular interpretive opportunity. The first gallery is broad and upward and stabilized as part of the architectural sloping, suggestive of the lower slopes of program and now is a vital part of the The arrival at the museum sets the stage the Acropolis hill where the museum is museum's interpretive program. for the visitor experience. We walked located. Glass cases on both sides are from our nearby hotel up Akti Mitsaion packed with objects that represent urban Construction took several years, given the Street on the west side of the north-facing life of Athens from several thousand years archeological obstacles and challenges, museum. It was immediately clear that B.C. to at least the sixth century A.D. They with the building completed in 2007. the museum is a slab held up by a forest are organized by their functions in every-

6 THE INFORMAL LEARNING REVIEW, July - Aug., 2009 day life, so there are clusters of items late 5th Century B.C., after the Persians segment, which had been removed, was used in cooking and eating, medical sacked and burned Athens. As one walks immediately returned. devices, objects used in wedding cere- through this galley one can see how the monies, oil lamps, children's toys, jewelry artistic style of the sculptures changes Our Reactions containers, and so on. Many of these from the formal stiff poses if the Archaic objects were recovered from the archeo- Period to the more realistic and fluid The new Acropolis Museum displays a logical site beneath the museum. poses of the Classical Period. The end of large number of previously inaccessible the gallery has some exhibits of coins and specimens very well along with featuring As one looks forward, up the gentle other non-sculptural objects dating from several of great cultural and political sig- stairs, one sees the remains of the pedi- the Hellenic and Roman periods to the nificance. There are numerous interesting ment of the archaic Parthenon of about 5th Century A.D.. stories interwoven with these objects - 570 B.C. Looking back from the base of artistic styles, cultural references (mytholo- that pediment, a balcony overlooking the Parthenon Gallery gy, religion, ancient and modern history), sloping gallery holds five of the six cary- materials used, etc. The broad open atids that originally stood on the south The top floor is a very precise (dimen- spaces of the Archaic and Classical gal- façade of the Erechtheion about 420 B.C. sions and compass orientation) represen- leries encourages visitors to explore, view The sixth, which was removed in 1801 by tation of the actual Parthenon. This allows objects from multiple directions, make Lord Elgin and ultimately placed in the those elements of the friezes, pediments, connections between and among the British Museum in London, is conspicu- etc. that remain in Greece to be faithfully objects, and follow a general chronology. ously absent. placed. Unlike the presentation of the The abundance of natural light places the Parthenon Marbles in the British Museum sculptures in setting similar to their origi- Archaic Gallery which are at eye-level on an inner wall, nal locations and avoids the standard the Parthenon Gallery has them facing in museum directed light approach. The Archaic Gallery presents objects from the proper direction and at the proper the 7th century B.C. through the Persian level from the ground. A dramatic visual The building is remarkably transparent. Wars of the 5th Century B.C. While small distinction is drawn between those pieces Not only are there numerous exterior bronze objects are displayed in conven- and fragments that are original (darker views of the Acropolis, the surrounding tional glass-fronted cases, the sculptures color, as the marble has not been neighborhood, and the archeological are fully viewable in the abundant natural cleaned) and those which are the half- site, but there also are views between the light, open and accessible. One can walk thickness flat white plaster casts of pieces various levels of the museum. This around each sculpture to fully appreciate in the British Museum and a few other encourages visitors to be aware of other its details and artistry. The whole gallery locations. The fact that substantial elements of the museum as well as those feels like a giant chessboard, with the visi- amount of the sculptures are located else- visiting the other galleries, both above tors dwarfed by the objects on display. where is noted on the informational pan- and below them. (However, the clarity of This is the pre-Parthenon period and the els which mention either an Acropolis cat- views of visitors walking directly overhead Acropolis was well-established as the alogue number or a simple BM or a led to an almost-immediate ban on pho- focal point of religious and civic life. It notation of another museum such as the tography. The purpose of the photo- places the development of Athens in an Louvre or Copenhagen. graphic ban is not to protect the objects international context and points out the on display, already bathed in light for constant tension with the Persian Empire. A continuously playing 15-minute video, many centuries, but to discourage inap- alternately in Greek and in English, propriate viewing of visitors from below. Classical Gallery shows the lengthy history of the Acropolis It took examination of museum reviews to with special focus on the Parthenon build- discover the rationale for this ban.) At the west and north side of the first floor ing. Multiple events - construction and are replicas of the other 5th Century B.C. centuries of use as the temple to Athena, The floor staff is ubiquitous but unobtru- structures on the Acropolis - the conversion to a church in the 5th Century sive, helpful, and multi-lingual. Propylaea (Entrance Gates), the Temple of AD, then to a mosque, use as an ammu- Nike, and the Erechtheion. It is a true nition dump and destruction by a The Acropolis and the Parthenon, as well as pleasure to be able to study the replicas Venetian cannon-shot in 1687, stripping the archeological site, are visible from of the sculptures on these temples up of much of the exterior by Lord Elgin in numerous locations including from a close and personal, which one cannot do 1801-1804, are documented. delightful indoor/outdoor café on the sec- on the actual temples on the Acropolis. ond floor. Unfortunately, it is not immedi- As mentioned earlier, the Caryatids on In late July the Church of Greece com- ately clear that the Parthenon Gallery is a the Maiden Porch of the Erechthyeion plained that a 12-second segment of the faithful reproduction of the dimensions and overlook the sloping gallery and face the video depicted Christian clergy vandaliz- compass orientation of the actual Archaic Pediment - obviously positioned ing the Parthenon in the process of con- Parthenon, thus accurately placing the for maximum effect. verting it to a Christian church in the 5th friezes and sculptures in context. When Century AD. The film-maker clarified that, one, well after the fact, looks at aerial pho- This gallery carries the history forward although the figures are robed, they rep- from the rebuilding of the Acropolis in the resent common people, not clergy. The See “Acropolis,” continued on following page

7 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

“Acropolis,” continued from previous page nections potentially are missed. While the current admission of €1 is a strong incentive to enter the new muse- tographs of the Acropolis Museum and its The object labels frequently are placed at um, some joint ticketing arrangement Parthenon Gallery as they currently exist, the side and/or very low on the pedestal with the Acropolis itself is highly desirable. the parallel positioning and sizing of the as one views the object head-on, making An in-person visit to the actual Acropolis, Parthenon Gallery is immediately apparent. them very hard to read from a normal including the Parthenon and associated This makes the positioning of the friezes standing position. Further, the longer temples, is a vital complement to the for- and sculptures all the more significant. explanatory panels always have the Greek mal exhibits of the Acropolis Museum. at eye level and the English at waist level. The original Acropolis Museum facility still We regret the absence of more informa- Thus, the English panels frequently are is there and has been repurposed into a tion about the practice of archeology and obscured by visitors reading the Greek storage and restoration operation. the specific challenges facing archeology panels. Perhaps duplicate, reversed-posi- at a place like the Acropolis. The objects tion, panels would be useful. Acknowledgements on exhibit come from a variety of sources, often found well removed from their orig- There is very limited seating in the gal- We thank the American Association of inal location because of intervening leries. The architect freely admits that he Museums for connecting us with Ms. events, and require different excavation, does not like designing gallery seating but Magda Hatzopoulos of the press office of preservation and conservation approach- it is an essential amenity which materially the Embassy of Greece in Washington, es. This seems to be a significant missed improves the visitor experience, especially DC. She then introduced us to Ms. Niki opportunity. However, when the archeo- in such a sensory-rich environment. Dolli, Head of Public Relations at the logical site is made more accessible to Acropolis Museum, who facilitated our the public within the next year, perhaps When leaving the Archaic Gallery, the visit and met with us over lunch following more attention will be given to the science subsequent visitor path is unclear. our visit. of archeology. Escalators can take one up to the Parthenon Gallery on the 3rd floor. Or, Robert Mac West is editor and publisher Given the prominent role of the one can continue the chronological tour of The Informal Learning Review. He may Parthenon (née Elgin) Marbles in the on the 1st floor by visiting the other 5th be reached at [email protected]. ongoing controversies over the repatria- Century B.C. Acropolis temples plus the Jean S. West is a travel consultant with an tion of cultural and other significant Hellenistic and Roman exhibits extending M.A. in Classics from the University of objects, artifacts, specimens and works of up to the 5th Century A.D. If one decides Chicago. She may be reached at art, we were surprised at the low-key to go directly to the Parthenon Gallery [email protected] . treatment of the removal of the marbles first, it is necessary to return to the first in 1801 and how the absent elements of floor to complete the chronology. the Parthenon are so modestly identified However, this means that the visitor does by the acronym BM (British Museum) on not experience the temples in the same the labels. The missing caryatid statue in order as they are on the actual Acropolis. the Erechtheion gallery is a bit more "in- your-face." Museum and government offi- Given the multicultural audience (some cials have not been reluctant to use the sixty percent of the initial months' visitors high quality of the new facility to put pres- were international) as well as its very sub- sure on the British government to return stantial age ranges that is attracted to this the objects currently in London. A future important museum, the current apparent article in the ILR will be a broader discus- absence of a multilingual audio tour is sion of the repatriation issue. unfortunate. We hope that this is due to the relative newness of this museum and Our Concerns that the Acropolis Museum soon will take advantage of the numerous communica- While very informative, the wall-mounted tions and information channels potentially information panels (in both Greek and available to it. Also, the substantial num- English) in the Archaic and Classic gal- ber of younger (pre-teen) visitors would leries do not enable the visitor to connect benefit from touchable objects and/or well with either the nearby, and presum- interactive displays. ably relevant but minimally-labeled objects, or the several physical models With the relocation of the New Acropolis depicting the architectural evolution of the Museum to its location at the base of the Acropolis (none of which had any label- Acropolis and, in fact only a few minutes ing, indicating neither the time period walk from the Acropolis itself, it is represented nor the identification of the extremely important that its visitors are structures). Thus, many interesting and encouraged to visit the actual Parthenon useful historical, cultural, and artistic con- and related structures atop the Acropolis.

8 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

THE NEW ACROPOLIS MUSEUM

Entrance to the new Acropolis Museum Acropolis Museum from the base of the Parthenon. Note remaining apartment buildings obscured by trees

Aerial view of Parthenon and new museum The Parthenon from the second floor plaza

Pillars hold museum building above archeological site Archeological site visible through opening in entry plaza

9 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

THE NEW ACROPOLIS MUSEUM

Transparent panels over archeological site Original Acropolis Museum at base of Parthenon

Objects displayed in original Acropolis Museum Looking down into the Slope of the Acropolis gallery; Caryatids on the second level

The five Caryatids Everyday objects exhibited in the Slope of the Acropolis Gallery

10 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

THE NEW ACROPOLIS MUSEUM

Archaic Gallery Parthenon Marbled displayed in the British Museum

Parthenon Marbles displayed in the old Acropolis Museum Detail of a Parthenon frieze

The Parthenon Marbles as currently displayed Close-up of friezes. Note the color difference from left to right.

11 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

ing element, reality. We explored how Anderson, President of Gail Anderson RISK & REALITY risk plays out in museums, be it at per- and Associates. Offering gentle humor A COLLOQUIUM sonal, institutional, or field-wide levels, and measured timekeeping Gail helped and noted how in a time of budget gather the group's insights on an abstract SPONSORED BY slashing and political maneuvering the idea and move us through a packed THE JOHN F. capacity to take risk is challenged. We agenda. JFKU faculty member Brianna puzzled over how museums approach Cutts also served as a sounding board KENNEDY risk in varied ways. Some museums for the conceptualization of the event, UNIVERSITY embrace it to go in new directions while and as important scribe through the day. others seem to avoid it due to their fear All of these players contributed to the MUSEUM STUDIES of failure and loss. And we wondered: solid impact of the effort. PROGRAM How can we define risk? What is our own relationship to risk: do we embrace Weeks prior to the colloquium we asked Susan Spero risk, reject risk, or relate to risk some- participants to send us thoughts and where in between? questions about risk. The length and Why Risk Now? provocative nature of them was an early The colloquium was a logical venue to indicator of how risk hits a nerve. A few The real world catalyst underlying the Risk explore risk since its open discussion plat- pulled phrases illustrate: Risk [is] chal- & Reality colloquium held at The John F. form combined with non-academic lenging yourself and other staff outside of Kennedy University on May 30, 2009, speakers offered a good mix for investi- comfort levels to create interesting (some- happened over two years ago at a confer- gating this pervasive yet vague idea. We thing) for the first time, only to see other ence when I heard edgy frustration from had a chance to tease out nuances sur- museum colleagues critique it harshly. former students and other emerging pro- rounding risk. Since the format pulled in Reality: Will the museum staff try again fessionals. I listened to stories of blocked multiple varied voices and diverse per- after seeing the criticism? And another: [I plans: the risk levels surrounding their spectives we edged toward some truths am ] thinking about risk from a innovative ideas seemed too high for about risk taking, although many of the money/development standpoint:I think those above them who had control and emerging truths took the form of more money is one of the main reasons that power over their projects. Some of these questions for our field. museums are afraid to take risks some- professionals choose to move forward times, whether it be risks with their collec- anyway with the hope that asking for for- Earlier colloquium presentations had tions, risks with the exhibitions that they giveness after the fact would work. For taught us that participants most value dis- put on…. I might go as far to even say others, the barriers seemed impossible to cussions and small group experiences, so that funding can be one of the obstacles penetrate. While this wasn't the first time I we designed all facets of the day to at all levels that museums are slow to was hearing complaints, the frustration encourage conversation. Believing that a change...but I don't know if I want to say level was mounting, and the plea for sup- mix of perspectives would help us garner that. These sample comments foreshad- port seemed more pressing than before. deeper understanding we sought one owed a level of passion that would speaker who works within a museum, emerge during conversations about risk A large part of my work as a faculty advi- Robert Garfinkle, from the Science held prior, during, and after the event. sor is to encourage others to take Museum of Minnesota, and another who There is no doubt that risk is a button- chances. "There is a difference between works from the outside, Executive pushing topic. stupid and risky," said Larry Johnson with Producer of Los Angeles based Cinnabar, the New Media Consortium (personal Jonathan Katz. To guide what would be Goals and Structure communication, 2009) and it sums up both a complex, and heartfelt discussion, one of my major views about risk. For we brought in a facilitator, former For the colloquium our goals were twofold: me taking risk requires forethought, but Museum Studies Department Chair, Gail as you take risks, you grow. In the context 1. Gain an increased understanding of a progressive museum studies pro- about risk in the professional realm on gram that pushes innovative theory and three levels: the personal, the institutional, practice my own mandate seems clear: and field-wide. How can we support the process of mak- ing change, which often includes prac- 2. Acquire some tools for managing risk. tices that are not fully proven, and by extension risky? The morning sessions concentrated on understanding risk in order to discover One way is to talk openly about it to our common ground on the topic, and to better understand how risk-taking exists identify our fundamental questions and in our field. For a full five hours during overarching concerns. Building on the the colloquium, students, faculty, alumni, Colloquium facilitator and speakers, Gail efforts of the morning, the afternoon friends of the department and invited Anderson, Robert Garfinkle, and Jonathan focused on finding tools for managing guests honed in on risk and its ground- Katz. Photo by Palma You. risk, so that everyone could leave the

12 THE INFORMAL LEARNING REVIEW, July - Aug., 2009 room believing that they had something On a long sheet of butcher paper we drew challenges, and even some suggestions tangible to put in their tool kit. a five-foot line with two opposing options, for how to deal with risk. Thoughts from and asked: Where is your comfort zone participants included: Engaging with Risk when faced with risk in your professional life? The option on one side being - I Big Questions: The conversation started with a provoca- avoid risks- and on the other side - I take • Will the public continue to value us? tive question with the request that partici- risks. Participant marks covered the mid- • How do you fight conservative leader- pants think first for themselves, then talk dle 50 percent of the line, with few at ship? with their neighbors: either extreme indicating that in this group Think about some time you tried something at least most do not avoid risks altogether Challenges: risky and it succeeded, however you define nor do they choose to live with risk as a • If we do take risks we might risk/lose success. Second question: Same question, constant. The point of the exercise was money. only this time, reflect on a time you tried two-fold: to get each of us to think through • What can the institution provide that something risky that failed, that bombed, our individual relationship to risk, and to cannot be found on the internet? that didn't work out like you hoped. enable us to see our risk tolerance as a • Institutional reputation can be group. We wondered how participants damaged if a new endeavor fails. The double-edged nature of risk became felt when they took risks throughout their clear. The thrill of doing something risky self-imposed stance. Do the "risk takers" And suggested directions: inspired many. The reality of taking a risk feel as uncomfortable with risk as those • Let some parts of the museum take then failing was also ever-present as who avoid risk when they actually take more risks. paraphrased from a participant here: one? Do all risks seem the same? • Create dialogue and debate to open While risk is fine, and all that, when we the mind to other possibilities (either actually have success, we have to talk Venn Diagram: Thinking about Risk on good or bad or even ridiculous). about those times when, well, things really Personal, Institutional and Field-Wide bomb and DON'T work. Listening to the Levels Suggestions provided even more ways edge in the participant's voice raised con- forward as it turned to risk field-wide: cern: Can we afford failure during vulner- During lunch participants answered the able times? question, "What are the challenges and • Transparency in museum processes- opportunities for taking risks?" They were involve the public in our planning Both Robert and Jonathan spoke next asked to consider risk in three (overlap- • If we step outside of our authoritative (see X & Y) offering their thoughts on the ping) settings: 1) personal risk in an insti- role we might feel liberated... both role and management of risk within tutional setting; 2) institutional risks that • Funders need to understand that projects. After their presentations, a dis- face our organization; and 3) field-wide innovation in the field is risk taking cussion followed that raised many of the risks that challenge us all. and may fail, but learning can still complex tensions inherent in risk such as Comments around risk in the personal come out of it. balancing our sense of safety with a will- • Positive and supportive leadership ingness to take on the unknown. Taking a opens opportunities for change risk can be scary: not taking a risk might • Can AAM take a leadership role in mean we stagnate. How does an indi- advancing risk-taking by providing vidual risk-taking impact an institution: do some sort of safety net for those who we go it alone or can we work together are hesitant? so whatever the outcome the responsibili- ty is shouldered by all? Risk pulls and Defining Risk pushes us in many directions at once. Many of the participants sought a defini- Reflecting on Risk: Graphic Tools tion, so to get it we broke into small groups to try and find one. The list of def- During the mid-day break, participants JFKU alum Pam Wong thinks through ques- initional phrases generated by the group, interacted with two large graphics to help tions posed on risk. Photo by Palma You. printed in its entirety, is offered as an prepare for the afternoon discussions that almost free-form poem that reflects the concentrated on tools for managing risk. realm reflected the fear and vulnerability community's collective thoughts. One graphic addressed their own per- that so often accompany risk: How do sonal relationship to risk, the other asked we overcome fear?; Risk is inextricably Risk is: participants to think through the different entwined with fear, and with fear comes realms of risk-taking: personal, institution- paralysis and stasis; Failing in front of • Being too scared to do something al, and field-wide. people I manage; and Now that he/she and regretting it said "yes" you have to follow through. • An idea with a "what if ?" Risk Line Graphic: Determining our per- • unknown outcome sonal relationship to Risk The discussion on risk within an institu- tional realm raised concerns, existing See “Risk,” continued on following page

13 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

“Risk,” continued from previous page Get used to the cognitive dissonance. Closing thoughts • Ask, "How will I feel if I don't take the • opportunity to change minds Risk?" As the day progressed the atmosphere in • decision that you have control over • Shrink the unknown the room widely shifted. Our initial dis- • possibility of failure • Believe in yourself and your strengths cussions highlighted the contrasting • consequence of error • Do it despite any negative support dimensions of risk: one of threats and the • lowering of self-image/damaging ego because you know you can other of potential, which combined forces • challenge the status quo us to make weighty decisions. The chal- • doing something B4 you're absolutely 3. Build networks to shoulder the burden: lenge of risk grew larger with each lay- sure • Consulting with loved ones, aspiring ered story, with each challenge associated • opportunity for growth peers, and colleagues with risk. Then, as the focus turned • expansion of comfort zone • Ask many questions towards finding tools to manage risk, the • being an actor and accepting • Get a buddy for support, debriefing mood lightened as obstacles became less reactions and trust ominous. Tools exist that can break risk • doing something important that really down to a manageable size. By listening matters 4. Find a structure for yourself: carefully to our individual stories of suc- • life is short • Set goals for yourself cess and failure, by acknowledging the • see the edge that life has • Motivation: Envision success & the steps puzzling challenges, participants realized • Exciting to get there just how possible it is for risk to take cen- • involves responsibility ter stage and become a powerful tool • the only way to make change 5. Understand, adjust and even change itself for changing museum practice. • trying to accomplish something the institutional culture: • it feels personal • Know the boundaries, know the rules Dr. Susan Spero is Associate Professor of • requires self-reflection and awareness so you know how to break them Museum Studies at JFK University, • requires trust • Let people know they have been heard Berkeley, CA. She may be reached at • makes what we do meaningful and offer acknowledgment: it is so sim- [email protected]. • evolutionary: revolutionary ple • staying relevant • Be open and give people permission to • requires resolve fail RISK FOR A REASON • Create an internal "skunk works" pro- The words reflect the personal demands gram to test new-wild-ideas that may Robert Garfinkle: of risk: it requires resolve, responsibility, fail expanding our comfort zone, and the • Decide if the mission needs to change Robert Garfinkle's point of view on risk in willingness to grow. • Diversify field: Deal with the vicious museums touches on a critical on-going cycle of low pay and pay better issue of risk: how do museums grapple Tools for Managing Risk • Know what funders are willing to fund with hot-button issues in society at large, such as Evolution or, in this case, Race. The afternoon conversation reflected our 6. Take care of your people (note that this collective understanding of risk and its is also within Jonathan's rules of risk and Susan asked me to represent risk-taking impact within the three realms, and our more than anything seemed to be a plea from inside an institution. I shared my search for tools that support our capacity for the field to be more thoughtful about experience leading the development and to manage it. Offered here is a synthe- our people) design team at the Science Museum of sized list of potential tools: the comments • Encourage Professional Development Minnesota (SMM) that created Race: Are taken directly from the public notes of • Create a learning system within the We So Different? in partnership with the that day. As you read through these real- institution. Set aside time for learning American Anthropological Association. I ize that the voices are coming from rela- and reflection have had the great good fortune to take tive newcomers to the field so that the • Mentor risks in a courageous organization such emphasis was on personal and institu- • Time: Buffer people's time as SMM and to work for visionary leaders tional tools. Points one through three such as Paul Martin and Eric Jolly. If have the personal tool focus; five through 7. Tool suggestions that could be applied there is a secret to the project's ground- seven are institutional tools, and eight for Field-Wide Impact breaking success, it's due to the col- applies to tools field-wide. • Keep looking outside the field leagues and organization I'm lucky • Be on the edge-learn to step out of our enough to work with. 1. Build Personal Skills: comfort zone. • Expand personal skills including com- • Publish your discoveries so others can But Race was not just another project for munication, listening, and even finan- learn from you. me; it was transformative, personally and cial understanding. • Highlight good leadership models. professionally. So the question I posed • Leadership + Vision: Find clarity as a for the Risk Colloquium was "What are 2. Consider Attitudinal Shifts: field, we are no longer in the 19th you passionate about? What is so • Take the time to embrace new ideas: Century

14 THE INFORMAL LEARNING REVIEW, July - Aug., 2009 important to you that you'd risk failure?" which describes the primary authority for ence in one particular exhibition: Altered each approach. The exhibit process I use State- California and Climate Change. As The Race exhibit afforded me the oppor- has been described as the Theatrical we developed this exhibit, we took a very tunity to reflect on how race operates in model (Kamien, 2001) where the producer contemporary approach to the subject myself, my institution, and the museum is the key intermediary and responsible matter, attempting to bring this issue from field at large. As a white person, I don't party between the client and the the global down to the community, family usually have to think about race every content/interpretation. The Producer is the and individual level. Part of our interpre- day. But as James Baldwin said, that's seat of a three-legged stool: content, tive approach was to take an advocacy exactly the root of white privilege - not schedule, and budget. position; while explaining scientific infor- having to face what's uncomfortable. mation, the exhibit directly suggests to visi- Producer - it's a term of art that signifies tors steps they should take to inform them- As a white person, I've made a promise integration of the whole, with recognition selves and take action to deal with the to myself to try to remember this in all of of the key participant - the audience. effects of climate change. In a museum my work. I want to look for opportunities environment where science and science to poke at and uncover these, and to The primary realization that comes with a information "speaks for itself," taking an develop exhibits and programs that take focus on audience is the understanding advocacy position can appear to be taking the issues of race and class into account, that the content provider is handing over to sides. Market attitude research commis- so we might be more just organizations their public ultimate validation of their sioned by the Academy showed that in and more honest brokers in our commu- efforts. Producers in the entertainment respect to institutions upon which the pub- nities. I invited the Colloquium partici- realm learn early on that compromises to lic conferred a high degree of authority pants, and all my white colleagues in mitigate risk don't contribute to the likeli- and authenticity, people wanted to be told museums, to do the same. hood of success. So providers in the audi- what to do. Using this validation as a ence driven marketplace have learned to point of departure, the exhibit developers, And I encouraged the Colloquium, and embrace risk, rather than to attempt to a joint effort of the producers and all of us in the museum field, to look at avoid it. This embrace, and the processes Academy staff, were able to achieve an what really makes us passionate. If we to manage risk, has become a condition exhibit that takes a clear and, according to discover our deepest hopes and wildest of success. some, controversial, point of view. Below, I dreams and then can resist the voices of have organized risk management and hopelessness and fear that inevitably Risk in exhibits emerges in two areas: communication processes into guidelines arise in our heads and become self- issues of design/technique and matters that can assist exhibit developers in main- defeating, then we'll be getting some- related to content/interpretation. In most taining focus on their objectives by over- where. Then we'll all get to lead our insti- projects, such as our work producing the coming perceptions of risk. tutions and our field down many risky Natural History exhibits for the new and worthwhile avenues. California Academy of Sciences in San The Seven Rules of Risk: Francisco, there were risk-weighted ele- Robert Garfinkle is Director, Science and ments in both areas. Design/technique Pick Your Battles Social Change Program, Science Museum issues can be technical (i.e., how does one Every project has a large set of variables. of Minnesota, St. Paul. He may be use screens for media, or display sensitive All of the departments of a museum can reached at [email protected]. specimens in a daylight-filled space), or be involved, from facilities to marketing issues of design opinion (do we like that and development, each with its own priori- color or that size of type face?). Often, the ties and "non-negotiable" requirements. EXHIBITS AS AN perception of risk arises when museum There are matters, both large and small, ENVIRONMENT decision makers get involved in making that are critical to the exhibit concept and judgments on design when in fact they its execution, and others that are "nice to FOR RISK have little or no training or experience. The have" but not essential. If you are able to result is often avoidance behavior, a pref- compromise or concede on some issues Jonathan Katz erence for the safe and predictable (read that are important to others, it will strength- boring and mediocre). en your position when you make it clear Exhibits are one of the most public orient- there can be no changes on something ed aspects of museums. Exhibits integrate However, the salient area for dealing with important to the realization of the project. multiple museum centers of interest within risk is content and interpretive choices. the exhibition environment such as educa- Museums face perennial "hot button" Be Prepared tion, curatorial and collections focus, con- issues. Evolution is a good example where Know your material before you present it! tent interpreters/developers, marketing and application of risk management tech- I have been in a meeting with trustees development, and facilities and operations. niques can support exhibit interpreters to looking at drawings that I've seen for the achieve their goals, both inside the muse- first time, because the designers worked I'm a producer of museum exhibits. um and with the outside world as well. In up to the last minute, and felt like a dunce Producer - that is not a typical label in the the case mentioned at the California because I couldn't quite understand or world of museums. Typical exhibit models Academy, the ability to embrace risk and are developer, team or curator driven, manage the process made a key differ- See “Risk,” continued on following page

15 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

“Risk,” continued from previous page ognize and address mistakes immediately Reference and openly. Often errors are allowed to explain what we were looking at. stay in place not because they haven't Kamien, Janet, 2001. An Advocate for Additionally, always admit what you don't been noticed, but simply to avoid calling a Everything: Exploring Exhibit Development know rather than trying to change the sub- mistake for what it is. Models. Curator, vol. 44, no. 1, 114-128. ject or bury the question in a lot of words (a standard curatorial technique). When Defend Your Position and Your People Jonathon Katz is the CEO of Cinnabar faced with this situation, I make a practice There are always going to be multiple California, Inc., a design firm based in Los of saying; "I don't have an answer, let me points of view and opinions about every Angeles, CA. He may be reached at get back to you tomorrow (or another spe- aspect of an exhibit. Take a position on [email protected]. cific date) on that.” your work, and commit to explaining the why and how. Standing up for the work is Always Listen a key component of leadership; it rein- A PERSPECTIVE ABOUT You never know when a mistake may get forces the objectives of the exhibit and the RISK noticed or another sort of omission is goals of the institution. Defending the called to your attention. Don't let hierarchy work of your staff is also essential. It is the Gail Anderson or adherence to job categories block your best way to reinforce the expectation that receptiveness to insight. Another extremely all participants will strive to meet project Risk is a concept open to interpretation. useful technique is to practice scenario goals, strengthen mutual trust, and incor- Often risk is associated with daring acts, planning. Projecting an average, best and porate the rules of risk. or forging the unknown – some believe worst case scenario for a particularly "risky" that risk is the domain of a select few - choice is an exercise that often reveals Buy-In and others fear the retribution of taking a what could possibly go wrong. Then, Regardless of organizational charts and risk and as a result shy away from risk of when it does blow up, you will, likely as hierarchies, decision makers operate at all any sort. The capacity to undertake risk is not, recognize the situation form your sce- levels in an institution. Early on, make an linked to the level and vitality evident in narios, and find you have a ready effort to brief people in all sectors of a leadership, capacity, and trust. When all response to effectively deal with it. museum: explain your goals, review the three indicators are thriving and in plans, and ask for suggestions and cri- healthy balance, there can be a support- Validation tique. A subtle and pervasive response ive environment for nurturing risk taking - Often enough, museum staff participants can occur from the process of offering due whether at the individual level, within a in the exhibit process raise questions about respect and acknowledgement to all levels museum, or within the museum industry. specific elements, particularly with design of an institution. When the collections staff Leadership sets the stage and provides issues, i.e. colors, sizes, placement, etc., member describes your work to others as inspiration, capacity means the robust- that go well beyond their expertise or expe- our exhibit, or the janitor talks about what ness of the organization is in place to rience. This is when a respected authority we are doing in the new exhibit, levels of shoulder risk, and finally, trust is the from outside the project can weigh in and risk diminish as support increases. ingredient that creates the confidence and confirm the merits of the design. This type support that enable individuals to of validation reinforces the design and It's Not Personal embrace and tackle risks in a constructive often dissipates the muddiness that comes A completely natural response, if you are and positive way. when one is forced to go along with committed to your work, is to react to criti- design by committee. cism and resistance on a personal level. Leadership is pivotal to achieving institu- Such actions become a judgment on your tional vitality and health, and creating a Make Decisions worth and contributions. Actually, it's not risk—supportive environment. While Leaving things up in the air, deferring about you, it's about the work. Constantly leadership begins with an individual, in choices, or delaying milestones magnifies working to remove your ego and self-iden- the end it is the collective empowerment the perception of risk by increasing the tification from the process gives you dis- that a leader creates that sustains institu- sense of uncertainty in a project. Select the tance from the project as whole, a shift in tions beyond the vision of one individual. preferred approach and lead with it! perspective that reveals the interconnec- Jim Collins (2001), author of Good to When I present a solution chosen from tions and interests of other points of view. Great, states that the optimum leader is a various options, I always present the one To the extent that this self-awareness exists, Level 5 Leader who exudes professional and only selection, not a multiple-choice risk can be more easily assessed in its con- will and humility. Professional will con- range: A, B or C. Of course, I always text. The idea of not taking it personally jures up determination and stamina, a have alternates B or C in my back pocket, can be extended to teams. I often remind vision that inspires many, and a funda- just in case. Clear and timely decision a project team, when talking about deal- mental commitment to integrity and qual- making aids transparency in the process. ing with its counterparts (designers, cura- ity. Humility is manifested in deep and Allowing decisions to disappear into "I'll get tors, writers, etc), to "get them to do what honest self-awareness and the ability to back to you on that," or into situations you want, but think it's their idea." When admit mistakes, to be open to others, to where it is not apparent who will make a the project is a success there will be good share achievements and credit others, decision, does nothing except add to the credits for everyone. and to exude an ease that allows for cre- level of uncertainty and anxiety. Lastly, rec- ativity and risk-taking in the institution.

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Humility is the trait often missing in self- defined roles & responsibilities, an effective American values and provided the oppor- proclaimed leaders – it requires that the infrastructure, a healthy organizational cul- tunity for the respectful and legal return of ego be set aside and the greater good ture, and the necessary systems and poli- Native American cultural objects and take center stage. The greater good is cies in place to support creative and pro- skeletal remains to the appropriate tribe bigger than any individual or any institu- ductive outputs. Leadership and a holistic following strict guidelines (Monroe and tion – it is when actions are undertaken for operation cap the list. Echo-Hawk 1991). Not all risk taking in the benefit of contributing to a more vital the museum field requires the publication community and environment. Those insti- When capacity is high and effective lead- of a white paper or the passage of new tutions that make meaningful differences ership in place – the environment for risk legislation, but risk taking at the national to their communities most often are the rises significantly. Witnessed in an open level does take courage and a profound resulting efforts of the Level 5 Leader. conversation during a strategic planning commitment to speak out on issues and session, a former nonprofit Board engage in deliberations where the out- Leadership sets the tone of an institution, President stated to the assembled group come(s) is unclear. It is not surprising that guides and shapes the rules of engage- of trustees and staff, "I want our organi- change at the industry level tends to occur ment, creates the standards for ongoing zation to be an environment where it is at a glacial pace in comparison to the operations, and assures a clear purpose safe to fail," – staff were stunned to hear individual or institutional setting. and unity in direction are in place. A such a strong pronouncement. That leader has the power to create an envi- statement alone will not solve all institu- At the heart of successful risk taking is trust. ronment that assures risk is a valued tional ills, but a strongly stated institu- Without trust an individual or institution can aspect of the institutional culture. For tional value supported by consistent and be devoid of creativity and vibrancy. Lack institutions in particular, it is advisable that changed behavior will do wonders to of trust undermines courage, confidence, risk be defined – so there can be a broad turn an inhibited work environment into and well being not to mention effective- understanding of what risk looks like, a more vibrant open one. All trustees, ness. Trust, as outlined in the 2006 book how risk fits into the organizational staff, and volunteers must understand The Speed of Trust by Stephen M. R. modus operandi, when and how risk can the role of risk-taking if the institution is Covey, stresses that trust is central to be embraced, and the learning opportu- to transform. Rebuilding trust is at the healthy and productive relationships nities that go along with taking risk. In heart of whether or not staff behavior whether personal or professional at all lev- other words, a clear framework for risk will change or the organizational culture els of daily life. His formula about the helps nurture new ideas, new ways of will shift. "economics of trust" states that if the level of operating, new intersections with the pub- trust is high within an organization, the lic, and the ability to try, explore, discover, For the field, risk can and will tend to be rate of productivity rises and the speed at and create anew – to take risks. Without introduced and led by mavericks and which operations function is high, while the strong leadership in the CEO/Executive those with demonstrated credibility and cost to do business is greatly reduced. Director and Board, the ability for an conviction – those who see a need for Conversely, he states, a low level of trust institution to embrace risk will be dimin- change and have the bandwidth and triggers slow levels of productivity and as a ished, and in some cases those institu- respect of colleagues to lead the charge. result increases costs. Dysfunctional institu- tions will become static, dysfunctional, Risk taking in the field can be the most tions without effective leadership and and risk adverse. challenging just by the sheer complexity, robust capacity tend to have low levels of diversity and size of the museum industry. trust. When trust is not present skepticism Capacity refers to the robustness, flexibili- Two historic moments in the museum field and counterproductive behavior can flour- ty and structure needed to make risk more that triggered noteworthy risk taking con- ish. Turning around an institution requires feasible. High capacity supports the abili- versation and action are tied to a national a persistent and visionary leader who ty to shoulder change, embrace new ini- white paper and federal legislation. builds trust block-by-block, day-by-day, tiatives, and achieve high levels of pro- Excellence and Equity generated by a and person-to-person. Trust that is built ductivity. For the individual, capacity may national committee for the American and sustained requires consistent and be tied to the external support and pro- Association of Museums in 1992, outlined ongoing commitment, and the humility fessional experience that informs actions systemic issues and proposed ten man- and tenacity to weather the challenges that that may look and feel like risk. Often dates for the field to become more inclu- naturally come with managing and lead- maturity and self-awareness are equated sive to our diverse nation, and to more ing an organization through dramatic with the capacity for risk taking – a devel- fully embrace museums educational role. change. When trust is present, there is a oped larger worldview and perspective The Native American Graves Protection greater capacity to take risks. that places risk in meaningful context. and Repatriation Act (NAGPRA) passed by Congress in 1990, was spearheaded by This triad of leadership, capacity and For the institution, capacity is tied to the museum professionals and Native trust are components needed to nurture ability to function efficiently, effectively, and American leaders who challenged the risk. Assessment is a tool that can help purposefully. It is not surprising that an divergent beliefs about the role of culture identify the preparatory steps needed to institution functioning at a high capacity from the museum perspective and native build a more receptive risk—taking envi- has characteristics such as: a clear relevant peoples perspective. The result was ronment. For the individual, a self- mission and vision, increased levels of groundbreaking federal legislation that public participation, strategic plans, recognized the importance of Native See “Risk,” continued on following page

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“Risk,” continued from previous page AUTHOR "MUSEUM FATIGUE:" assessment may result in the need to INFORMATION: A NEW LOOK AT AN move to another institution that better OLD PROBLEM Robert Garfinkle is the Director of Science aligns with one's values, or it may require and Social Change Program at the developing new skills to implement ideas Stephen Bitgood Science Museum of Minnesota. In this more effectively. For the institution, role, Robert collaborates with Minnesota replacing an ineffective leader or taking "Museum fatigue" has been a troublesome communities to explore the intersection of substantial steps to move toward institu- problem to define, to measure, and to science and social issues and led the pro- tional vitality through constructive assess- ameliorate. Definitions have tended to ject team that created the award-winning ment and planning may be a logical either lack specificity or been restricted to exhibition, RACE: Are We So Different? step. Finally, building risk-taking capacity a single phenomenon, although several Robert's talk underscored his belief that within the field may require determining appear to be involved. Measures of there are certain, important aspects of the depth of one's conviction to step out fatigue have varied from percent stopping museum work that demand our willing- and take a risk to foster needed change at an exhibit element, to time viewing, to ness to take risks. in the field. time sampling the focus of visitor atten- tion, and, finally, to self-reports of bore- Jonathan Katz is Executive Producer of Today, unfortunately, many museums are dom and/or physical or mental tired- Los Angeles-based Cinnabar. His think- at risk due to entrenched leadership and ness/exhaustion. In addition, there has ing challenges day-to-day museum insti- outmoded strategies, and an internally been very little systematic attempt by tutional practices, and he offers advice focused style of operation. With external museum professionals to find ways to gleaned from his many years experience pressures such as the strained economy, reduce or eliminate "fatigue." in the high stakes, high-risk production shifts in consumer demands, and the world of Hollywood. explosion of technology – facing the This article summarizes some of the mate- issues, embracing the new, and taking rial discussed in two of my recent publica- Gail Anderson is President of Gail risks is required for survival. In other tions (Bitgood, 2009a; 2009b) as well as Anderson and Associates, and the former words, risk is present whether it is delib- adds a few new ideas. I hope to provoke Department Chair at the JFKU Museum erately created, or it emerges through more concern about the multiple phe- Studies. Gail served as the facilitator dur- stagnancy. Risk taking is an opportunity nomena associated with "fatigue" because ing the colloquium, a role key to focusing and a choice. The choice awaits. of the negative impact that these phenom- an abstract and intense subject. ena have on the visitor experience. These References phenomena are responsible for curtailing Susan Spero, Associate Professor of many museum visits and for limiting the Museum Studies at the John F. Kennedy American Association of Museums. amount of learning and enjoyment expe- University, organized the Risk & Reality Excellence and Equity: Education and the rienced by visitors. Several phenomena colloquium as part of the graduate pro- Public Dimension of Museums: A Report associated with "fatigue" will be discussed gram and with the support of the Helzel from the American Association of and some of the misconceptions held by Family Foundation. For the past two Museums. Washington, DC: American museum professionals will be identified years the Museum Studies Department Association of Museums, 1992. and corrected. Finally, this article will pro- has produced several one day events pose ways to minimize the negative focusing on pressing issues in the field, Collins, James. 2001. Good to Great: impact of "fatigue" and to suggest the including events on Civic Discourse and Why Some Companies Make the Leap… need for further research. To accomplish Collections Management Issues. Spero and Others Don't. New York: these goals, a question and answer for- guides students in the Education and HarperCollins Publishers Inc. mat will be used. Interpretation track of the program and has taught at the University for almost Covey, Stephen M.R. with Rebecca R. What is "museum fatigue"? 20 years. Merrill. 2006. The Speed of Trust: The One Thing that Changes Everything. To the visitor who, after several hours of New York: Free Press, A Division of trudging through exhibit gallery after Simon Shuster, Inc. exhibit gallery, "museum fatigue" is simply the awareness of being physically and Monroe, Dan L. and Walter Echo- mentally exhausted. "Museum fatigue" Hawk.1991 "Deft Deliberations," Museum has a different meaning to the researcher News, July/August 1991. Washington, who must carefully analyze its compo- D.C.: American Association of Museums. nents. What has been called "museum fatigue" includes two types of outcomes. Gail Anderson is President of Gail First, it refers to a collection of phenome- Anderson & Associates, Novato, CA. She na associated with systematic decreases in may be reached at gail@gailanderson— attention to or interest in exhibition ele- assoc.com. ments over successive viewings. It also

18 THE INFORMAL LEARNING REVIEW, July - Aug., 2009 refers to self reports of decreased interest other object that is visually available at any dence of "fatigue," these photos are ques- levels, of increased feeling of mental or moment. While Melton (and Robinson, tionable. However, they do indicate the physical tiredness/exhaustion, or of bore- 1928) believed that this competition had a obstacles built into poorly designed exhibi- dom after the exertion of viewing exhibi- perceptually distracting impact on atten- tions and Gilman was an early champion tions. These phenomena include mental tion, it is more likely that visitors become for more visitor-friendly design. and/or physical tiredness/exhaustion, more selective (choose the more interesting object satiation (boredom), a depleted objects to view) as the number of alterna- Robinson's (1928) and Melton's (1935) capacity to attend to exhibit elements over tives increase. measures of "fatigue" included both per- time, and an increased selectiveness in centage of stops at paintings and/or view- what objects receive attention. Another phenomenon sometimes con- ing time per painting. Robinson com- fused with "fatigue" is "stimulus or informa- pared patterns of visitor attention across Additional complications arise when con- tion overload." Overload is similar to several different museums and in a labo- sidering the relationship of "museum competition in that it requires simultane- ratory simulation study. Melton focused fatigue" to other phenomena such as ous presentation of multiple objects. on single exhibitions rather than entire "directed attention fatigue" proposed in Overload can be defined as an inability to museum visits. The importance of this dif- Kaplan's Attention Restoration Theory (e.g., process the amount of incoming informa- ference between the impact of an entire Kaplan, Bardwell, & Slakter, 1993). tion. Matamoros (1986) titled her thesis visit and of a single exhibition cannot be According to Kaplan, a museum visit can "Information Overload" but did not actual- overemphasized. Different phenomena be a restorative experience to ameliorate ly provide an "overload" measure. Rather, are very likely to be involved in each of "directed attention fatigue" (caused by she examined decreased attention (per- these situations. extended attention to daily tasks). However, cent stop and viewing time) over the it is only the experienced visitor who is likely course of the aquarium visit - clearly a Falk, Koran, Dierking, & Dreblow (1986) to benefit; the infrequent visitor does not "fatigue" phenomenon. She also collected developed a time sample measure that experience restoration in the museum self-report data of fatigue-like feelings indicated the focus of visitor's attention according to Kaplan and his colleagues. from an independent group of visitors. (exhibits, social, etc.) in 5-second intervals Not addressed by Kaplan is the question: and pooled this time-sampling data into "How can a museum experience both cre- While "competition" may include an "over- 3-minute periods. For several reasons it is ate and eliminate "attention fatigue?" load" component (e.g., too many objects unlikely that this recording method is to view at one time), decision-making equivalent to those used by Robinson and I have argued (Bitgood, 2009a; 2009b) processes may also be involved. For Melton. The Falk et al. study is the only that "museum fatigue" should be opera- example, a visitor may select for attention one employing time samples and the tionally defined in terms of both the causal only the most potentially interesting reader should be aware of some of the or precipitating factors (workload, homo- objects when confronted with a large methodological problems. First, since geneous exhibit objects, etc.) and the visi- number of choices (Bitgood, Mckerchar, attention was not recorded to specific tor outcome (decreased attention to exhibit & Dukes, 2008). exhibit elements, the peaks and valleys of elements over time, etc.). There is likely to attention typically found in exhibitions be more than one reason why visitor Competition and overload, while not meet- were not evident. Second, it is very likely attention decreases. For example, in ing the operational criteria for "fatigue," that the data was confounded with reac- addition to "fatigue" phenomena, may increase the rate at which "fatigue" tivity in which the procedure influences the decreased attention may be attributed to occurs as predicted by such theories as outcome. Individuals were asked permis- poorly designed exhibitions, to the Kaplan's Attention Restoration Theory and sion at the beginning of their visit and the processes involved when objects compete Environmental Load Theory (Bell, Greene, researchers accompanied the visitor for attention with one another and to Fisher, & Baum, 2005). However, the stud- through the museum. Serrell (2000) information overload. ies of Robinson (1928) and Melton (1935) reported a meta-analysis of studies com- did not show such an effect. paring cued (individuals approached and What phenomena should not be asked to participate) and non-cued (indi- called "fatigue"? What are the outcome measures used to viduals observed unobtrusively) visitors. indicate "fatigue?” The vast majority of the studies found that With respect to attention, the distinguishing cued visitors showed higher measures of factor between fatigue and other phenom- One of the confusions in the literature is attention than non-cued visitors. ena is that fatigue involves a systematic the apparent assumption that all "fatigue" decrease in attention over successive view- measures are equivalent. Gilman (1916) In a master's thesis conducted at the New ing, while non-fatigue phenomena are not used a photographic record of one indi- England Aquarium, Matamoros (1986) defined by a systematic decrease over vidual who was given instructions to find examined both complete visit patterns of time. One of these non-fatigue phenom- answers to questions posed by Gilman. observational measures (percent stops ena is "object competition" – a decrease in The photos show the man stretching and and viewing time) as well as self-reports of attention to a target object resulting from straining in an attempt to obtain the visitor experiences in a paper-and-pencil simultaneous visual exposure to multiple required information from the exhibition. survey. Observational data showed a sys- objects. Melton (1935) argued that every No doubt the participant had to pose object competes for attention with every while Gilman readied his camera. As evi- See “Fatigue,” continued on following page

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“Fatigue,” continued from previous page What is the evidence for mental and phys- their attention as the visit progresses. ical tiredness/exhaustion? Such behavior is often described as "cruis- tematic decrease across aquarium sec- ing" (Falk & Dierking, 1992). However, tions, but these data were not entirely con- While there is a lack of published evi- "cruising" would seem to imply a decrease sistent with self-report measures collected dence, it is difficult to argue that physical in both the number of stops at exhibit ele- from another group. Cota-Mckinley tiredness/exhaustion does not play a role ments and the viewing time per stop. (1999) also used self-report measures by in "fatigue." We have all experienced Although not a "fatigue" study, Melton adapting a NASA workload impact scale exhaustion after a long day at a museum (1935) reported a decrease in the per- on a simulated visit to a natural history or theme park. However, physical or centage of artworks given attention (per- exhibition. She found that a group given tiredness is only one of the possible out- cent of stops) as the number of artworks limited time reported heavier workloads comes associated with "fatigue." Physical increased; but, once stopped, the viewing and pressure than a group given unlimit- exhaustion is more difficult to study time averaged a constant 10 seconds. ed time to view the PowerPoint simulation because of the long time frame necessary of the exhibition. This suggests that the to produce it. The specific processes of decision-making workload measures used in the study are in "fatigue" phenomena are not clear at sensitive to task conditions and may be Gilman (1916) suggested that his pho- this point, but it may be something like useful in further "fatigue" research. tographs provided evidence for physical this: As tiredness or boredom increase exertion as a cause of "fatigue." However, with systematic viewing of exhibit ele- Recently, two students (Renee Burt and there was no indication that the partici- ments, visitors choose to focus on fewer Stephany Dukes) under my direction have pant's attention or interest systematically elements, primarily those that have the completed simulation studies using art decreased during the demonstration or highest perceived worth or attractiveness. prints in a laboratory (in some ways similar that the participant reported feelings of Thus, the difference in performance mea- to Robinson's study) that collected three tiredness/exhaustion. sures (stopping and viewing time) may measures of fatigue: viewing time, interest indicate that visitors are not too tired or rating of each art print, and the proportion While physical exhaustion is difficult to bored to view (viewing time remains con- of a text passage read. Half of the partici- demonstrate because of the time neces- stant), but are more selective in their pants were instructed to describe the art sary to produce it, mental tiredness/ choices, perhaps to conserve more of their print as they initially viewed it; the rest of exhaustion may be easier to demonstrate. energy. There is evidence that people participants simply viewed as long as they As noted above, the results of our muse- engage in a variety of behaviors (taking wished. All participants were then asked um simulation studies suggested that the fewest steps to a destination, refusing to rate the print in terms of "how interested greater mental exertion (describing an art- to backtrack, etc.) that may be designed would you be in seeing information about work) produced more "fatigue" (as to conserve energy (Bitgood, 2006; this artwork and its artist?" Finally, partici- defined by decreased attention across Bitgood & Dukes, 2006). pants were shown a text passage and time) than simply viewing the artwork. instructed to read as much or as little as Is there selective bias in reporting they desired. Results indicated that (1) the What is the evidence for object satiation? "museum fatigue"? vast majority of participants showed signs of "fatigue" (decreased view time, interest "Satiation" differs from "mental There is undoubtedly a strong bias in which rating, and proportion of passage read) tiredness/exhaustion" in that, in the former, research studies reach publication. across trials of the study; and (2) the partic- individuals are exposed to objects in a Negative results are usually not published, ipants who had to describe the print, way that fails to stimulate the individual either because professional journals reject showed a higher amount of "fatigue" or either intellectually or affectively, while in them in the review process or researchers systematic decreases in the three measures the latter individuals are given a heavy fail to submit them for publication. There than participants who passively viewed the mental workload. Decreased attention to are many reasons why studies may fail to prints. Obviously, physical exertion was homogenous objects across time appears produce a result, including poor experimen- not a factor in this study. However, mental to be a common outcome. Decreased tal controls or because there is no strong exertion (having to describe the art print) attention can occur with little physical exer- phenomenon involved. We published was apparently a strong factor since the tion. For example, it has occurred while a (Bitgood, et al., 2001) a failed attempt to describe condition resulted in greater participant viewed art prints while seated replicate Robinson's (1928) laboratory study, "fatigue" than the view-only condition. at a table (Robinson, 1928) or viewed but emphasized the increased attention snakes within a small exhibition space produced by participants having to describe Unfortunately, there has been little con- (Bitgood, Patterson, & Benefield, 1986). an art print. Many of our evaluation stud- cern about the equivalence of these vari- ies over the years have also failed to find ous "fatigue" measures. My recent articles What is the evidence for decision-making systematic decreases in attention over suc- identified some potential difficulties with processes? cessive exhibit elements. The typical finding some of the outcome measures (Bitgood, is a series of high and low measures of 2009a; 2009b). At the very least, the pat- In addition to tiredness/exhaustion and attention to various exhibit elements tern of findings in the literature suggest satiation, the role of decision-making depending upon the characteristics of the that different measures are sensitive to dif- processes must be considered. Visitors exhibit element and the characteristics of ferent factors. become more selective in the focus of the visitor circulation pattern. Consequently,

20 THE INFORMAL LEARNING REVIEW, July - Aug., 2009 it is difficult to assess the strength of the they are likely to increase the interest level Conclusion "fatigue" phenomena since we do not know by provoking curiosity. if the literature represents an accurate indi- "Museum fatigue" is not inevitable and we cation of its presence or absence. 2. Design to minimize physical and mental have the responsibility of minimizing it exertion by pacing visitor viewing whenever possible if we want visitors to Where do we stand on "museum fatigue" optimize learning and to create a satisfy- phenomena? Assuming prolonged physical and mental ing visitor experience. However, more exertion create "fatigue," exhibitions can be research and theory are needed to formu- After almost one hundred years of study- designed to slow visitors down and to pro- late effective principles that lead to a ing "museum fatigue," we know relatively vide short rest periods. For example, plac- reduction in "fatigue." little. The total number of published stud- ing a sit-down video in a theater in the ies addressing "fatigue" can be counted on middle of a large exhibition may help the There are a number of variables that need three or four hands (under 20). The find- visitor recover before continuing the visit. further study: pacing of viewing, variety of ings from published studies are somewhat exhibit elements, etc. Examples include: inconsistent and conflicting. This should 3. Provide effective and easy wayfinding pacing the visitor workload through the be of concern. In addition, there is a lack exhibition; the parameters and impact of of theories or models that can boast pre- Having to constantly make decisions object competition; and the relevant factors dictive validity (that is, under what condi- about where to go next, which way to that cause information overload and its tions we can predict "fatigue"). turn, etc. places a heavy burden on visi- relationship to "fatigue." With respect to tors and is likely to hasten "fatigue." Easy- pacing, how quickly or slowly exhibit ele- Despite the lack of a clear road map, we to-follow pathways, minimal choice ments are processed may be related to the can perhaps draw some conclusions from points, and effective directional signage massed versus distributed practice phe- the literature: are among the principles for effective ori- nomenon in the learning/memory litera- • There are several phenomena that fit entation (Bitgood, 2006). ture of psychology. Is the impact of pac- into the "fatigue" framework. These ing in exhibitions similar to that of massed include tiredness/exhaustion, object sati- 4. Minimize the mental processing work- versus distributed practice? (See Cepeda, ation, and greater selective attention load Pashler, Vul, Wixted, & Rohrer, 2006 for a over time. recent review of the literature.) Taking • All observational measures are not the The connections between interpretive text breaks between trials of learning or mem- same. Because of the paucity of and the exhibit objects should be obvious orizing has been shown to improve perfor- research, it is not clear how each mea- to visitors and the text passages should be mance in motor and verbal tasks. Do sure relates to the others. designed for easy processing (Bitgood, museum visitors experience a similar • Observational measures do not always 2000). Text passages should be short, process as they view exhibitions? agree with self-report measures. One bulleted when possible, use simple lan- would expect consistency between these guage, and be supported by clear illustra- While there is much yet to be learned two types of measures, but more studies tions where appropriate. Because of the about "fatigue," we should at least be sen- are needed to establish this connection. mental workload, visitors are unwilling to sitive to visitor needs and look for and • There is a tendency to oversimplify the read "textbooks on walls." correct design problems that may cause nature of "fatigue." The conditions and "fatigue." outcomes involved in these phenomena 5. Maintain high interest with provocative must be considered together. design References

What can we do to minimize "fatigue"? Questions that make visitors think can Bell, P., T. Greene, J. Fisher, & A. Baum. often be effective in increasing visitor (2005). Environmental psychology. Given that we know relatively little about curiosity. In one of our evaluation pro- Philadelphia, PA: Routledge Publishing. "museum fatigue," we can only offer intel- jects, the question, "Can you identify the ligent guesses on how to minimize the three animals in the totem pole" in an art Bitgood, S. (2006). An analysis of visitor impact of "fatigue." museum resulted in a high percent of visi- circulation: Movement patterns and the tors stopping to find the answer. Judy general value principle. Curator: The 1. Provide attention-focusing aids Rand (1986) offered a number of sugges- Museum Journal, 49(4), 463-475. tions for effective label writing that "hook" Handouts, pamphlets, or guides for both the reader. Bitgood, S. (2009a). When is "museum individual exhibitions or for the entire fatigue" not fatigue? Curator: The museum appear to help (Bitgood, 6. Encourage visitors to take breaks Museum Journal, 52(2), 193-202. Patterson, & Benefield, 1992; Porter, 1938; Robinson, 1928). These aids may A well-placed coffee shop in the middle of Bitgood, S. (2009b). Museum fatigue: A be effective for two reasons: they seem to a museum might encourage visitors to rest critical review. Visitor Studies, 12(2), 1-19. reduce the amount of mental energy nec- for 15 or so minutes. Of course, the caf- essary for visitors to decide where to focus feine in the coffee might also be helpful their attention; and, if effectively designed, for increasing the visitor's energy level. See “Fatigue,” continued on following page

21 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

“Fatigue,” continued from previous page Kaplan, S., L. Bardwell, & D. Slakter. OUTCOMES OF THE (1993). The museum as a restorative Bitgood, S., C. Devia, P. Goodwin, C. environment. Environment and Behavior, EXPANDING INFORMAL Rudin, A. Trammell, and B. Zimmerman. 25(6), 725-742. SCIENCE FOR LATINOS 2001. Projective focusing: Motivated CONFERENCE attention to works of art. Current Trends in Marcellini, D. and T. Jenssen. 1988. Visitor Audience Research vol. 14. St. Louis, MO: behavior in the National Zoo's Reptile Robert L. Russell and Malu Jimenez AAM Committee on Audience Research House. Zoo Biology, 7: 329-338. and Evaluation. In March, educators from across the Matamoros, M. 1986. Information United States met at the Expanding Bitgood, S. & S. Dukes. 2006. Not anoth- Overload. Master's thesis in Informal Science Education for Latinos er step! Economy of movement and Management, University of Massachusetts conference in Albuquerque, New Mexico, pedestrian choice point behavior in shop- at Boston. Boston, MA. convened by the Self Reliance Foundation ping malls. Environment and Behavior, (SRF) and supported with funding from the 38(3), 394-405. Melton, A. 1935. Problems of Installation National Science Foundation. This topic in Museums of Art. New Series No. 14. seems even more important now than Bitgood, S., S. Dukes, and L. Abby. 2006. Washington, DC: American Association of ever as Latino populations in the United Interest and effort as predictors of read- Museums. States continue to grow. ing: A test of the general value principle. Current Trends in Audience Research and Rand, J. 1990. Fish stories that hook The conference was designed to provide Evaluation vol. 19/20. Boston, MA: AAM readers: Interpretive graphics at the participants with opportunities to discuss Committee on Audience Research and Monterey Bay Aquarium. Technical Report needs, identify resources, build upon exist- Evaluation. No. 90-30. Jacksonville, AL: Center for ing initiatives, and develop new strategies. Social Design (originally published in the Formal presentations were kept to a mini- Bitgood, S., D. Patterson, and A. Benefield. 1986 Annual Conference Proceedings of mum; there was ample opportunity for 1986. Understanding your visitors: Ten AAZPA). small groups to discuss new ideas, pro- factors that influence visitor behavior. jects, and to form new collaborations to American Association of Zoological Parks Robinson, E. 1928. The Behavior of the move these concepts forward. and Aquaria Annual Conference Museum Visitor. New Series No. 5. Proceedings, Minneapolis, MN. Pp. 726- Washington, DC: American Association of This article discusses broad themes 743. Museums. emerging from the conference and then presents some of the expanding initiatives, Cepeda, N., H. Pashler, E. Vul, J. Wixted, Roper, J., S. Bitgood, D. Patterson, and A. new ideas and next steps that emerged. & D. Rohrer. 2006. Distributed practice in Benefield. 1986. Post-occupancy evalua- verbal recall tasks: A review and quantita- tion of the Predator House at the Themes tive synthesis. Psychological Bulletin, Birmingham Zoo. Visitor Behavior 1 (2): 132(3), 354-380. 4-5. Six briefing papers were written (see ILR 94, where all were published in their Cota-McKinley, A. 1999. An empirical Rounds, J. 2004. Strategies for the curiosi- entirety) to provide conference participants investigation of workload on the visitor ty-driven museum visitor. Curator: The with background on Latinos and informal experience: Effects of exhibit size and time Museum Journal 47 (4): 389-410. science. Some important observations constraints on performance. Ph.D. disser- and themes grew out of these papers and tation. Ft. Collins, CO: Colorado State Serrell, B. 2000. Does cueing visitors sig- the subsequent discussions that helped University. nificantly increase the time they spend at a frame conference discussions: museum exhibition? Visitor Studies Today Davey, G. 2005. What is museum 3 (2): 3-6. The Latino population is growing fast and fatigue? Visitor Studies Today 8 (3): 17-21. is diverse. Numbering over 44 million, Stephen Bitgood is Professor Emeritus of Latinos are now the largest ethnic/racial Falk, J. and L. Dierking. 1992. The Psychology at Jacksonville State University, minority group in the United States. But Museum Experience. Washington, DC: Jacksonville, AL. He may be reached at Latinos are not homogeneous. Latinos Whalesback Books. [email protected]. include U.S.-born and immigrant residents who come from more than 20 different Falk, J., J. Koran, L. Dierking, and L. countries and have varied levels of educa- Dreblow. 1985. Predicting visitor behavior. tion, acculturation, English-language pro- Curator: The Museum Journal 28 (4): 249- ficiency, and income. While research 257. shows that Latinos are learning English at the same rate as large immigrant popula- Gilman, B. 1916. Museum fatigue. tions from the past, nearly two-thirds of Scientific Monthly, 12: 67-74. Latino adults use Spanish at home.

22 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

Education is important for Latino families, Use Spanish-language media, but make Yakima Valley MESA; ncarrasco_mesa@ but some Latino parents may define edu- sure you know your audience: In the aver- tricity.wsu.edu; (509) 372-7194. cation differently than mainstream age week, Latinos watch over 17 hours of America. Latino parents frequently have Spanish-language television and listen to Celebra la Ciencia: The project's mission, high educational aspirations for their over 12 hours of Spanish-language radio. supported by coalitions of informal sci- children. When choosing a leisure time In addition, the majority read Spanish lan- ence organizations and projects in com- activity, they are more likely to choose guage newspapers. To support your mes- munities across the country, is to encour- one that they perceive has some educa- sage, use popular and well-trusted media, age Hispanic children and families to tional value over one that seems merely consider the literacy levels and language become involved in science and health "fun." But when defining education, many preferences of the target audience, use programs. The project is currently devel- Latino families include social and ethical native speakers to write or translate, keep oping new coalitions and other new pro- education in addition to what happens in messages simple and clear, and use mul- gram initiatives. Contact: Bob Russell, Self school. They may perceive parents and tiple mediums (e.g., radio plus outreach at Reliance Foundation; bob.russell@ teachers as filling different educational the church or community center). srfdc.org; (202) 997-5539. roles, with parents responsible for the social and ethical education of their chil- Plan for families. Many Latino families use Energy Hawks is a national, bilingual fam- dren and teachers responsible for formal leisure time to promote and build family ily-focused energy conservation education education. unity. Informal learning experiences that and action initiative that empowers stu- involve the entire family, even including dents and their parents to slash energy Informal science is not keeping pace with cousins, uncles, and grandparents, may consumption and costs. In addition, the the needs of the Latino community. Latino be very attractive to Latino families. learning experiences prepare them to families are underrepresented among excel in the emerging green economy. those who visit science centers and other Use culturally competent staff. Language Now in the development phase, the pro- similar institutions. Latino students are competence, cultural understanding, and ject presents many opportunities for col- under enrolled in afterschool programs. respect for traditions and values are some laboration and dissemination. Contact: There is no Spanish-language National of the qualities organizations should look Bob Russell, Self-Reliance Foundation; Public Radio or Public Broadcasting for in staff. [email protected]; (202) 997-5539. Service, and there is little science available on Spanish-language media, including Evaluate. Evaluation is an essential tool in Family Science Page/Pagina Familiar de la radio, television, and newspapers. understanding the participants in a pro- Ciencia: The page is a set of newspaper gram, so that language issues, context, features - games, activities to do at Cultural barriers may discourage Latinos trust, and other challenges can be taken home, interviews with scientists, fun sci- from visiting museums. Infrequent muse- into consideration during planning. ence facts - which Self-Reliance umgoers may believe that you need to Evaluators need to acknowledge their Foundation disseminates to Spanish-lan- know about the conventions and subject biases, use the community to help analyze guage newspapers. This initiative presents matter of a museum before you go. Some proposed evaluation methods, talk to opportunities for partnerships between Latinos may also feel unwelcome in muse- other evaluators experienced in culturally local museums, organizations, and news- ums because of a lack of cultural rele- appropriate evaluation, and field test eval- papers. Contact: Isabel Morales, Self vance, interpretation in Spanish, or visitors uation methods. Reliance Foundation: Isabel.morales@ or staff who are like them. srfdc.org; (202) 496-6059. Expanding Initiatives Against this background, conference par- GoKids in Boston Neighborhoods: In col- ticipants emphasized some basic guide- A number of projects presented opportu- laboration with the Boston Housing lines that can assist informal science orga- nities for collaboration and dissemination Authority, public health experts and public nizations in planning exhibits and pro- of program resources: housing tenants, Boston Children's grams that are effective with Latino stu- Museum is developing culturally sensitive dents and families: Acceso A La Ciencia: This project is a public programs for families, as well as collaboration of the Washington State outreach strategies for the museum's new Involve the audience. Use members of the MESA program, the Pacific Science health and fitness exhibit and programs. Latino community to help you plan pro- Center, and KDNA educational radio, The museum disseminates the message grams. As you build trust with the commu- one of the few educational Spanish-lan- with teen "ambassadors." The project is nity, recognize that it takes time. Working guage radio stations in the country. looking for additional sites for replication. with community "gatekeepers" or "cultural Through mobile exhibits, youth explain- Contact: Megan Dickerson, Boston brokers" may facilitate the process. ers, science festivals, parent outreach, Children's Museum: dickerson@ and supporting media, the project seeks bostonkids.org; (617) 426-6550. Use role models. Many Latino science pro- to engage Latino students and families in fessionals described the importance of science. The project has program activi- Splash Zone Discovery Program: The teachers and other role models in guiding ties and exhibit ideas to share, as well as Splash Zone Head Start Discovery and supporting their career choices. an interest in collaboration for additional sites. Contact: Neiri Carrasco, Director, See “Outcomes,” continued on following page

23 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

“Outcomes,” continued from previous page briefly summarized at the beginning of this mendations, the Self-Reliance Foundation article, several specific initiatives emerged (SRF) has: Program is designed to introduce a con- from the discussions at the meeting: servation ethic to young children and 1. Established a social network to support their families. Through partnerships with MiCiencia Science Careers Support collaboration and discussion: Many con- two local Head Start county offices, the System: Discussions at the conference ference participants have already joined program reaches over 1,300 low- highlighted two critical periods for STEM and are in active discussions on a social income and predominantly Latino fami- career development: middle school and network open to all. In addition to lies per year. The premise of the pro- high school. Middle school is seen as the forums, a variety of educational resources, gram is that learning happens at home, time when many students make critical such as the conference briefing papers, at school, and at play so it is conducted decisions on future career paths. For are available. To access or join the net- in English and Spanish and includes pro- example, if middle school students do not work: http://scienceforlatinos.ning.com. fessional development for teachers and begin to take advanced mathematics, parent meetings. Contact: Rita Bell, such as algebra and precalculus, then 2. Organized a follow-up session at the Monterey Bay Aquarium, their chances of pursuing STEM-related annual Association of Science-Technology [email protected], (831) 648-4845. careers is diminished. A project was con- Centers (ASTC) conference: An all-day fol- ceived of developing an Internet-based low-up pre-conference workshop will be Para los niños: This program is a partner- resource system, including many Web 2.0 held in Fort Worth on Friday, October 31, ship between the Children's Museum of features, that would give Latino students 2009, from 10 am to 4 pm (lunch served) Houston and libraries which delivers family access to information on science pro- Small working groups will work on carry- learning events to Spanish-speaking fami- grams, financial aid, mentors, and other ing the work of the conference forward. lies. Its goal is to provide monolingual resources. Contact: Bob Russell, bob.rus- Registration for the workshop, for which Spanish-speaking parents with access to [email protected]; (202) 997-5539. there will be no additional fee (beyond resources and activities that will improve registering for the conference itself) is their ability to parent and nurture children National Hispanic STEM Education open. Contact Bob Russell, hanarus@ from birth to age seven. This program has Initiative: A national STEM education ini- aol.com or (202) 997-5539. This all-day been in existence for a number of years tiative or Latinos is developing, under the workshop will include forum sessions on and serves as an excellent model for more leadership of Adam Chavarria, who most three topics fundamental to expanding programs of this type. Tiffany Fontenot, recently served as Executive Director of the informal science opportunities for Latinos: Children's Museum of Houston: (713) White House Initiative on Educational 535-7224; [email protected]. Excellence for Hispanics. Over 50 repre- Conducting culturally appropriate evalua- sentatives from Latino STEM organiza- tion (Steve Yalowitz, Institute for Learning Science and Technology Youth Clubs: tions, universities, community/youth orga- Innovation); Maloka's two programs offer Family nizations, and the informal science com- Science Nights (in a school setting) that munity have developed an ambitious Planning events and programs for Latino draw adults and children together on a agenda and are designing a national families (Malu Jimenez, Self-Reliance weeknight for hands-on scientific explo- meeting to launch the initiative. Contact: Foundation & Maddie Correa Zeigler, ration. Maloka will present opportunities Adam Chavarria, addamm2020@ founder, Proyecto Futuro &, and Celebra to collaborate with these programs and aol.com; (703) 909-1315. la Ciencia coalition, Albuquerque); describe other resources she has to share. Nohora Elizabeth Hoyos, MALOKA Latino Scientist Role Models Exhibition: International collaborations (Alejandra Science Center, Bogota, Colombia: Planning is underway for a traveling exhi- Leon Castillo, Executive Director, REDPop). [email protected]. bition that will highlight the contributions of Latinos to science. The exhibition will In addition, there will be brief presenta- The Bilingual Exhibit Research Initiative: not only feature Latino scientists, but will tions by several projects, with opportunities The new Bilingual Exhibit Research also offer pathways and resources for stu- to learn more and collaborate on these Initiative focuses on bilingual exhibits, dents wishing to pursue STEM careers. projects, including a traveling exhibition emphasizing the documenting of existing Contact: Ismael Calderon, Director of on Latino scientists (Ismael Calderon, bilingual exhibits. It will work with Science, Newark icalderon@newarkmu- Newark Museum); bilingual labels (Steve ExhibitFiles.org to collect and archive seum.org; (973) 596-6670. Yalowitz, ILI), Spanish-language science photographs of existing bilingual exhibits. news portal (Bob Russell), and National The Initiative welcomes new partners who Next Steps Hispanic STEM Education Initiative (Bob have bilingual exhibits or who are interest- Russell). ed in this issue. Contact: Steven Yalowitz, Conference participants rated the organi- Institute for Learning Innovation: zation and immediate outcomes of the 3. Started work on a resource database: [email protected]; (410) 956-5144. conference very highly. At the concluding SRF is working towards establishing a session, there was great enthusiasm for a national database of science education New Initiatives follow-up activities that will support resources targeting Latinos, that will be progress on "expanding informal science established as part of SRF's Acceso In addition to the rich discussion of issues, for latinos." Following up on these recom- Hispano initiative. Acceso Hispano links

24 THE INFORMAL LEARNING REVIEW, July - Aug., 2009 the Latino general public, as well as com- until it can raise adequate operating um's artifacts in order to save about munity service providers, to local and funds, some $150,000. Within a few days $80,000 per year. The Official Museum national organizations and resources that of these announcements, the art museum Directory says that this museum attracts meet their needs. indicated that it is in conversation with 50,500 people annually. Surprise Mayor Lyn Truitt about moving 4. Started work on the next Expanding into the to-be vacated Heard space. The Presidential Museum and Leadership Informal Science for Latinos Conference: Library in Odessa, Texas, closed on SRF is researching options for locations The Cleveland Museum of Art laid off 14 August 21. Museum trustees are exploring and for funding of a follow-up conference. employees (5% of the full-time staff) and selling part of the collection to establish a will leave 8 vacant positions unfilled. The $5.5 million endowment to both pay off Robert L. Russell is Director of Science and museum's endowment has dropped from debt and support operations at $165,000 Health Programs at the Self-Reliance $821 million to $510 million in the last annually. Alternatives involve the possibility Foundation. He serves as project director two years. This staff reduction comes of giving the collection to the University of of SRF's national family science outreach shortly after the opening of the East Wing, Texas-Permian Basin or Texas Tech network, Celebra la Ciencia, and the first part of a $350 million expansion University in Lubbock. ConCiencianews.com, a weekly Spanish- and renovation due to be completed in language science and health news service. 2013. This staff reduction follows initial In St. Louis, MO, the St. Louis Zoo, City He can be reached at: [email protected]. adjustments in May when 19 vacant posi- Museum, and the Magic House Children's Malu Jimenez is Senior Program Director, tions were left unfilled and senior staff Museum set July attendance records. The Self-Reliance Foundation. She can be took pay cuts. zoo attracted 554,583. City Museum reached at: [email protected]. brought in 93,160 and Magic House saw The Fresno, CA, Art Museum is forced to 78,651 visitors. The combination of St. reduce its operating budget by one-third, Louis hosting the baseball All-Star Game “Recession,” continued from back cover from $1.2 million to $800,000. It is and families vacationing close to home reducing office and public hours and will are the major contributors to this atten- August 2009 be forced to lay off an as-yet-undeter- dance surge, according to the St. Louis mined number of employees. Convention and Visitors Commission. The Dakota Discovery Museum in Mitchell, SD, confronting with drastically The Tampa Museum of Art is scaling back In early August, Humboldt State reduced contributions, laid off two of its its annual fundraiser. Instead of charging University, Arcata, CA, announced that three fulltime employees and will close $1,200 per couple, this year's November the Humboldt State University Natural from October 1 to April 30. Unrestricted 7 event will be a picnic with tickets avail- History Museum will close at the end of contributions are less than 40% of what able for $250 (guests bring their own bas- the month. This is a response to a $12 was anticipated. ket of food and drink with the full amount million cut in the university's state appro- going to the museum) or $350 (the bas- priation. Very quickly, a group of volun- Following on the closing of two small ket purchased from the museum). teers and community members formed museums (ILR 95, p. 19), the State of the Friends of the North Coast's Natural Delaware is terminating Tuesday and In mid-August the Whitney Museum of History Museum and began working with Sunday openings for the New Castle Art, New York City, laid off 4% of its staff, the museum board and university Court House Museum, the John bring the total of full- and part-time staff administration to see how to save the Dickenson Plantation, the Old State House to 205. museum. At present, the University has Museum in Dover and, seasonally, the agreed to consider turning the museum Zwaanendael Museum in Lewes. All regu- The Fort Pitt Museum in Pittsburgh, PA, is over to this private group in 2010 and to lar weekday hours have ended for the scheduled to be transferred from the keeping the museum accessible to school Johnson Victrola Museum in Dover; it now Pennsylvania Historical and Museum groups through June 2010. Currently the is open from 9:00 to 4:30 the first Commission to the John Heinz Regional Museum Board and community mem- Saturday of each month and to groups by History Museum, but will be closed until bers are working on a short-term appointment. the state adopts next year's budget. The fundraising plan to raise roughly Bushy Run Battlefield in Westmoreland $120,000 immediately. Additionally, At the beginning of August the Heard County, the Joseph Priestly House in HSU has asked for a long-term planning Museum of Phoenix, AZ, announced that Northumberland County, and the proposal to raise the amount of it will close its West Valley branch by the Brandywine Battlefield in Chester County $300,000 to $400,000 annually. end of 2009, a consequence of will be closed due to lack of state fund- decreased museum shop sales and low ing. The commission is furloughing 23 The Elgin, IL, Zoo in Lords Park is closed, attendance. The city of Surprise owns the employees. saving the city $80,000 to $100,000. museum's land, spent $3.2 million to build the museum, and has devoted The commissioners of Lake County, Fort Discovery in Augusta, GA, operated approximately $471,000 to operations Florida, are considering closing the Lake by the National Science Center, has between 2006 and 2009. The West Valley County Museum. This will involve laying Art Museum, also in Surprise, is closed off the curator and dispersing the muse- See “Recession,” continued on following page

25 THE INFORMAL LEARNING REVIEW, July - Aug., 2009

“Recession,” continued from previous page ees. The move is attributed to rising costs open under the management of the within a $3 million operating budget newly-formed Friends of the Museums, reduced its operations to a three-days per funded entirely by private donations and Inc. The Friends take over on October 1, week schedule. admission revenues. and plans to significantly extend the open- ing hours of both museums. In the previous issue of the ILR (no. 96, p. Despite reopening in May after a strong 24), I indicated that The Zoo in Santa community response to their closing (ILR Efforts to relocate the ME's Zoo from Rosa, CA, faced closure. The Zoo referred 95, p. 20), the End of the Oregon Trail Randolph County, Indiana, to Delaware to here is actually The Zoo Northwest Interpretive Center, the Museum of the County have failed. The privately-owned Florida in Santa Rosa, Florida (thank you, Oregon Territory, and the Stevens- zoo will close at the end of September. Mary Marcussen). It has since closed, Crawford House, all in Oregon City, OR, Arrangements have been made to place despite the efforts of mortgage holder the closed on September 8. An external study to 200+ animals in zoos, habitats, and for-profit Animal Park, Inc. The Santa Rosa of the Clackamas Heritage Partners, the rescue facilities around the country. County Tourist Development Council operating organization, indicated that the rejected a request for $125,000 for oper- private group does not have the resources Exhibition Observations ating funding, and the Escambia County to successfully operate the facilities, and, Commission followed suit. The zoo's $4.5 to date, the city has not been able to The stresses placed on special and tem- million debt will be at least partially retired come forward with adequate funding. porary exhibition programs by the reces- by selling the animals and the land. sion can be seen in some of the strategic The proposed new facility for the Bell decisions that are being made. This is The poor economy has caused the State Museum of Natural History of the particularly visible in the art museum of Mississippi to put plans for an $80 mil- University of Minnesota, St. Paul, has world, but there also are consequences lion civil rights museum on hold. There is again been removed from the university's for science and history museums. no funding, no timetable, and no board 2010 request for construction funding. of directors. Funding for the $39.5 million building One indication of the decreased reliance had been vetoed twice previously, on externally-produced temporary exhibi- The saga of funding for the Franklin Park although some $10 million in private tions is the large number of listings on and Stone Zoos (Zoo New England) in funds have been raised. Those funds will ILE's 11th Hour page - traveling exhibi- Massachusetts continues. As reported hopefully be available to experiment with tions that currently are available. earlier (ILR 96, p. 24) Governor Deval new exhibit techniques in the old building. Patrick and the Massachusetts legislature Corporate Collections are head-to-head over the level of state In Hawaii, the Honolulu Academy of Arts support. There have been two rounds of and The Contemporary Museum are dis- An increasing number of corporations are vetoes, with the Zoo New England state cussing a possible merger to reduce oper- curating their art collections into stand- budget currently at $3.5 million (the ating costs. alone traveling exhibitions. Primary original legislative recommendation was among these are Bank of America, $6.5 million). The Maryland Zoo in Baltimore, which JPMorgan Chase, Deutsche Bank and has lost some $200,000 in grants from UBS. Bank of America now has its Art The Collier County, FL, commission is the Maryland Department of Education Exhibition Program that offers to museums considering a plan to stop devoting and local city and county governments, is at no cost shows curated from its extensive tourism tax dollars to Collier County- raising weekday adult admissions from collection of paintings, prints, sculptures owned museums. The current operating $11 to $13 and senior admissions from and art objects. Among the titles currently budget for those museums is $1.2 million, $11 to $12. available are "Reverbrations: Modern and with two new museums scheduled to open Contemporary Art from the Bank of in 2010. The Tourism Development The Long Beach, CA, Museum of Art will America Collection," "The Art Books of Council is recommending that a three- have its city funding cut from $569,000 to Henri Matisse," "The Wyeth Family: Three year phase-out of the tourist tax dollar $169,000. Generations," "Andy Warhol Portfolios," allocation starting in fiscal 2011. and "the Hewitt Collection of African- With more than two weeks remaining in American Art." Among the institutions The Cleveland, OH, Botanical Garden is its fiscal year, the Fort Wayne Children's receiving BOA exhibitions are the St. Louis eliminating six full-time positions, not fill- Zoo in Indiana has broken its all-time Museum of Art, Boca Raton Museum of ing vacancies, and cutting its budget by attendance record. Thus far 544,648 Art, Napa Valley Museum, Gilcrease eight per cent. The garden's endowment people have visited, compared with the Museum, Union Station, Kansas City, and has dropped from $30 million to just over record of 541,399 in 1996. the Dulwich Picture Gallery, London, UK. $13 million. On September 18 it was announced that While there are clear economic advan- September 2009 the Campus Martius Museum and the tages to showing exhibitions drawn from Ohio River Museums, both of Marietta, corporate collections at no to low cost, The Oklahoma City National Memorial OH, due to be closed by the Ohio some professionals are concerned about and Museum laid off 3 of its 24 employ- Historical Society (see above) will remain delegating curatorial authority from their

26 THE INFORMAL LEARNING REVIEW, July - Aug., 2009 own staffs as well as being seen to be a ACTUAL CALL CENTER Caller: Yes, I think so. marketing arm of a commercial entity. Operator: Great. Follow the cord to the CONVERSATION plug, and tell me if it's Blockbusters and Cancellations plugged into the wall. This has to be one of the funniest things Caller: Yes, it is. in a long time.. I think this guy should Several international tours have been dis- Operator: When you were behind the have been promoted, not fired. This is a rupted because confirmed venues found monitor, did you notice that true story from the WordPerfect Helpline, that they were not able to generate the there were two cables which was transcribed from a recording necessary sponsorships and could no plugged into the back of it, monitoring the customer care depart- longer afford to host the exhibition. An not just one? ment. Needless to say the Help Desk example: the Art Gallery of Ontario pre- Caller: No. employee was fired; however, he/she is sented Surreal Things," a show developed Operator: Well, there are. I need you to currently suing the WordPerfect organiza- by London's Victoria and Albert Museum. look back there again and tion for 'Termination without Cause.' After the AGO, it was scheduled to move find the other cable. to the Minneapolis Institute of Arts and the Caller: Okay, here it is. Actual dialogue of a former WordPerfect Dallas Museum of Art (who were to share Operator: Follow it for me, and tell me Customer Support employee: the costs). Neither could generate the nec- if it's plugged securely into the (Now I know why they record these con- essary support and cancelled their partici- back of your computer. versations!) pation. The show completed its venue at Caller: I can't reach. the AGO - with the AGO picking up the Operator: OK. Well, can you see if it is? Operator: Ridge Hall, computer extra costs. Caller: No. assistance; may I help you? Operator: Even if you maybe put your Caller: Yes, well, I'm having trouble Similarly, there appears to be a reduced knee on something and lean with WordPerfect. emphasis on the so-called blockbuster way over? Operator: What sort of trouble? exhibits (a class of exhibitions that varies Caller: Well, it's not because I don't Caller: Well, I was just typing along, enormously from museum to museum). have the right angle -- it's and all of a sudden the Again, this is reflected in the number of because it's dark. words went away. listings on our 11th-Hour page. Operator: Dark? Operator: Went away? Nonetheless, there continues to be high Caller: Yes - the office light is off, Caller: They disappeared. interest in the King Tuts, Harry Potters, and and the only light I have is Operator: Hmm. So what does your Bodies-type mega-blockbusters. coming in from the window. screen look like now? Operator: Well, turn on the office light Caller: Nothing. Own Collections then. Operator: Nothing? Caller: I can't. Caller: It's blank; it won't accept A final exhibition response to the recession Operator: No? Why not? anything when I type. is the increased attention being paid to Caller: Because there's a power Operator: Are you still in WordPerfect, materials already resident in museum col- failure. or did you get out?' lections. As might be expected, this is most Operator: A power ... A power failure? Caller: How do I tell? clearly seen in the larger art museums that Aha. Okay, we've got it Operator: Can you see the 'C: prompt' can plumb their collections almost indefi- licked now. Do you still on the screen? nitely and, with some creative curatorship, have the boxes and manuals Caller: What's a sea-prompt? develop endless topical exhibitions that, in and packing stuff that your Operator: Never mind, can you move many ways, are more germane to their computer came in? your cursor around the audiences than are most imports. And, Caller: Well, yes, I keep them in the screen? they are a lot cheaper. Examples include closet. Caller: There isn't any cursor; I told the "Sargent and the Sea" exhibition of the Operator: Good. Go get them, and you, it won't accept anything I Corcoran Gallery of Art's own collection of unplug your system and pack type. early work by John Singer Sargent and it up just like it was when you Operator: Does your monitor have a "Faces of the Frontier: Photographic got it.. Then take it back to power indicator? Portraits From the American West, 1845- the store you bought it from. Caller: What's a monitor? 1924" at the National Portrait Gallery, also Caller: Really? Is it that bad? Operator: It's the thing with the screen in Washington, that traces the history of Operator: Yes, I'm afraid it is. on it that looks like a TV. the region through images of legendary Caller: Well, all right then, I suppose. Does it have a little light that figures such as Geronimo, Buffalo Bill What do I tell them? tells you when it's on? Cody, Annie Oakley, and Kit Carson. Operator: Tell them you're too stupid to Caller: I don't know. own a computer! Operator: Well, then look on the back Robert Mac West is editor and publisher of of the monitor and find The Informal Learning Review. He may be where the power cord goes reached at [email protected]. into it. Can you see that?

27 TheInformalLearning Review P.O. Box 42328 Washington, D.C. 20015

July 2009 from the Joslyn Art Museum and the MORE ON Durham Western Heritage Museum to the RESPONSES TO THE The Minnesota Zoo announced its high- purchase of new police cars. Western est annual attendance (1,355,260) in its Heritage will lose 7% of its budget RECESSION thirty years of existence; memberships ($200,000), while the Joslyn will lose (44,229) also are at an all-time high. $150,000. Robert Mac West The Kansas City Zoo reported its busiest July in a decade, with attendance up The Ohio Historical Society, for which state This is the fourth (and hopefully last) in a 27% over last year. support has decreased by 42% over the series of reports on responses the informal past two fiscal years, is taking several learning industry is making to the eco- The Hall of Health in Berkeley, CA, steps to reorganize. The state history nomic pressures of the current recession. operated by Children's Hospital and museum at the Ohio Historical Center is As indicated previously, the material pre- Research Center of Oakland, CA, removing its current exhibits and convert- sented here is an unscientific compilation closed on July 18. Its failure is attributed ing to a "collections learning center," with of items reported in various media. I mon- to falling attendance and the loss of out- public labs and workspaces, visible collec- itor Google News, museumnews.net, and side grant revenue. tions, a distance learning studio, and until recently layoffdaily,com (which recent- greater emphasis on technology. While ly went out of business itself, so I moved The National Cowboy and Western none of the 58 historic sites or museums over to dailyjobcuts.com). Heritage Museum, Oklahoma City, OK, are to be closed, efforts are being made has avoided layoffs by implementing to transfer management to local groups. I have the distinct sense that the pace of across-the-board salary cuts. Annual The quarterly magazine TIMELINE will cutbacks has slowed, but has not yet donations are down by $1 million. The cease publication at the end of the year, reversed. Further, at least some of the Oklahoma Historical Society is reducing 10-day furloughs are mandated for all moves made have provided incentives for funding for eleven state-funded muse- employees before the end of this fiscal increased local visitation and membership ums and closing the History Center on year, 19 vacant positions will not be filled, purchases. These, of course, don't neces- Sundays. and 53 positions will be eliminated as sarily translate into increased per capita OHS sites transition to local management. revenue but do improve institutions' stand- Several Omaha, NE, museums are hav- ing in their communities and may well ing their budgets cut as the city's 2010 translate into further support when the budget reallocates gambling revenue economy rebounds. See “Recession,” continued on page 25

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