Untours moved to June

I had a great meeting with Gillian Dow at Chawton today. To be honest, I’d been worrying about it for weeks, knowing that the story development was in no state to be complete in time to run the even in March as we had agreed. I’d even been nervous about contacting Gillian, knowing I was letting the Library down on a promise I’d made last year. But worrying was not going to solve anything, so I bit the bullet last week, and wrote a short email explaining my problem, and fixing today’s meeting.

Gillian was very understanding, and we’ve fixed a new date for the experiment – the week between the 4th June and the 11th. But not only that, I think we cracked one of the main story problems I’d been having. Gillian went straight to the crux of my problem: that Montague Knight seems the obvious character to hang the story of the house upon, and yet his own biography doesn’t quite offer the emotional arc that I was looking for. Though he wrote (with his cousin, William Austen Leigh) the history of Chawton and its owners, its stops short of his own time there, and the emotion beat of loss happens after he dies, childless.

But it doesn’t, Gillian pointed out. Yes, Montague’s home improvement efforts at Chawton all seem positive and upbeat, but they are counterweighted by the loss of the home he grew up in family seat. When he was 30 his father, Edward, sold the family’s Kent home, Godmersham Park. Suddenly, all the work Montague put in at Chawton gets an extra significance. And there’s an emotional beat, loss, which can resonate in the story of the dismemberment of Godmersham and Chawton’s libraries. It could also celebrate the news of some of that collection, a 1833 “Bently” set of Austen’s work with Montague’s bookplates in, being donated back to Chawton.

In other news I also tested the out the wifi plug controller and speaker with Chawton’s network, and they both worked. So all in all, it was a VERY good morning.

*Edited to reflect my realization that Montagu didn’t grow up in Godmersham – his father lived with this family in Chawton from 1826.

Forgive me, this will make little sense

I feel I need to record this here, but I fear it will be nonsense to most of my readers. Looking back at it it feels like the first step into incoherent PhD madness. So skip this one if you are looking for sense and inspiration.

I’m struggling with the Chawton project, tying myself up into narrative knots. Meanwhile my collaborator Ed is powering on with his part. Today I’ve been listen to his first pass at a number of audio mixes. Which sound great by the way, and make me a bit depressed at the lack of progress my part has been making.

The problem is all to do with the paradox of scripting an emergent story. When I brief Ed part of wants to say, “we’ll tell this bit of the story in this room, and so you need to use this sound,” but that defeats my object of trying to create stories with some sense of order whatever route visitors take through a place. So I wrote Ed a short but still rambling email, that I think captures what I’m getting at. Though it might be bollocks.

Anyhow I don’t want to lose it. And so since I started this blog as a notebook, rather than a finished demonstration of my finely honed wisdom, you  are about to get an actual note to self, the slightly edited text of that email. We can all work out what it means, if anything at all, later:

I’ve had a little epiphany thinking about your question. But I’m finding it difficult to put into words.  You asked whether the six beats are connected to the recorded quotes. I said no, and I still think that but I also said that a couple might be relevant, and so they might, BUT (I think) not so relevant that you should mix them into the finished work. The ones I was thinking of were: Fanny Knight, Mr Knightly and Jane Austen. But none of those enhance any one particular beat, do you get me? So don’t need to be missed in so they are heard every time. The beats set the mood, or rather, illustrate a particular mood. So… I think we’ve looking for sound mixes that accompany the beats, eg Loneliness. In the fancy system that doesn’t exist yet, the system might choose to interweave the “lonely” track with the Fanny Knight quote. But we don’t need to do that, or rather to fix it as that, in our rough and ready version.

But that lead me to another thought. (The Epiphany.) Which is that we (I) can’t afford to put speakers everywhere. So we need to select rooms that we are putting speakers in, and for each room WITH A SPEAKER, create a choice of soundmixes, that match the whatever beat the operator (the Unguide in our case, a fancy system in the future) chooses in that Room.

So, day we have a ball in the Great Hall – at the very basic level we might have a choice of a Jolly mix (for Up beats), or a sad mix (for setbacks), do you get me? We could have six different mixes for the six beats I’ve identified ALL for the Great Hall, so that whichever beat is selected has its own music appropriate for the great hall, and ANOTHER six choices for, say, The Oak Room. Am I making sense? But of course we’ve actually got three stories, and even if they all share the first beat, that would mean a possible five mixes for the Library story, and ANOTHER five for the Montague story, for EACH room? Crazy huh?

But all of that could be a LOT of work for you, so we need to keep our ambitions in check.

SO:

Tell me how many mixes you want to create, and together we can decide on a limited number of rooms where we’ll put speakers (we did day nine, but I can live with just one), and a limited number of mixes for each speaker (I think we want at least two for this experiment). How does that sound?

Writing participant information for Ethics approval

Today I’m trying to finish all the documentation I need to Ethics Committee approval for the Chawton Untours. Right now, I’m looking in particular at the information sheet I’ll give participants before they agree to be part of the experiment. Looking at and writing all this over and over again mains me sort of “sense-blind”, and so though I think this is all written in plain English and is understandable to the man on the street, I’m not sure. So I thought I’d share it here. If there’s anything you think doesn’t make sense, drop me a line in the comments, please:

Participant Information Sheet

Study title: Responsive Heritage Narratives

 

[There’s a bunch of reference number stuff which I won’t bother blog readers with]

Your participant number: _______

Please read this information carefully before deciding to take part in this research. If you are happy to participate you will be asked to sign a consent form.

What is the research about?

For my PhD I’m researching how museums and heritage sites might be able to give every visitor an experience better tailored towards their needs, rather than the “one-size-fits-all” experience offered by guidebooks and exhibitions and even the current generation of interactive guides and apps.

Why have I been chosen?

As a visitor to Chawton you represent the sort of person that might visit any museum, historic house or other heritage site. This research does not involve people under sixteen.

What will happen to me if I take part?

You will participate in an “Untour”. You are free to wander around the house as you might when visiting any historic site. The difference is that you/your group) will be followed by an “Unguide” who, in each location where you pause, will trigger some storytelling. The Unguide may show you something to read, read something out to you, or remotely activate lights, sounds that will help tell the story of the place. The Unguide is not a tour guide, and will not tell you where to go next or what to look at. You are in control. You may ask the Unguide questions, but the Unguide may not be able to answer all of them. The Untour should take no longer than 40 minutes.

The Unguide will keep a note of your interests and behaviours throughout the Untour and you may be filmed. Any video will be confidential, anonymously analysed and deleted. At the end of the Untour you will also be asked to complete a confidential, anonymous survey.

Are there any benefits in my taking part?

I hope you will learn something about the house and library here at Chawton. The experiment will tell you a story about the place which, though composed of historical facts, will be unique: tailored to your interests, and not quite the same as any other group’s.

Are there any risks involved?

There are no risks beyond those of an everyday visit to a historic house.

Will my participation be confidential?

Your Untour will necessarily take place when Chawton is open to the public, and other people, not least other participants taking their own Untours, will be able to see that you are participating. But we don’t need your name, address or other identifying information (except on the consent form). You will have a participant number, which we will use to anonymously link the Unguide’s notes, your questionnaire responses and any video evidence. All data will be kept confidentially on secure servers university servers, and deleted when the research is completed.

What happens if I change my mind?

You can end the Untour at any point. If, after the event, you decide you do not wish the evidence gathered during your Untour to be used in the analysis you can contact me (by email: [address]) quoting your participant number. I will delete/destroy any associated notes, forms, or recordings and inform you when I have done so.

What happens if something goes wrong?

In the unlikely case of concern or complaint, you should contact the Chair of the Faculty Ethics Committee [contact details]

Where can I get more information?

If you want to know more you can contact me direct at [email], or if you would like to read more about the background to my research, visit my blog http://www.memetechnology.org

 

 

 

Resonance: Sound, music and emotion in historic house interpretation

Just drafted an abstract for my Sound Heritage presentation:

This presentation explores what computer games can teach us about emotional engagement in cultural heritage interpretation. Beginning with a model of emotional affect drawn from the work of Panksepp and Biven (Panksepp, 2012), Lazarro (Lazarro, 2009), Sylvester (Sylvester, 2013)and Hamari et al (Hamari et al., 2014), it reveals how music especially has become a versatile emotional trigger in game design.

Drawing on the work of Cohen (Cohen, 1998)and Collins (Collins, 2008)eight functions that music has in games:

Masking – Just as music was played in the first movie theaters, partly to mask the sound of the projector, so music in new media can be used to mask the whir of the console’s or PC’s fan.

Provision of continuity – A break in the music can signal a change in the narrative, or continuous music signals the continuation of the current theme.”

Direction of attention – patterns in the music can correlate to patterns in the visuals, directing the attention of the user.

Mood induction; and,
Communication of Meaning- the nice distinction here is between music that makes the user sad, and music that tells the user “this is a sad event” without necessarily changing the user’s mood.

A cue for memory – The power of the music to invoke memories or prepare the mind for a type of cognitive activity is well recognized in advertising and sonic brands such as those created for Intel and Nokia.

Arousal and focal attention – With the user’s brain stimulated by music s/he is more able to concentrate on the diagesis of the presentation.

Aesthetics – The presentation argues that all too often music is used for aesthetic value only in museums and heritage sites, even if the pieces of music used are connected historically with the site or collection.

As an example, the presentation describes a project to improve the way music is used in the chapel at the Vyne, near Basingstoke. Currently, a portable CD player is used to fill the silence with a recording of a cathedral choir, pretty, but inappropriate for the space and for it’s story. A new recording is being made to recreate about half an hour of a pre-reformation Lady Mass, with choisters, organ and officers of the church, to be delivered via multiple speakers, which will be even more pretty but also a better tool for telling the place’s story.

With a proposed experiment at Chawton House as an example, we briefly explore narrative structure, extending the concept of story  Kernels and Satellites described by Shires and Cohan (Shires and Cohan, 1988)to imagine the cultural heritage site as a collection of narrative atoms, or Natoms (Hargood, 2012), both physical (spaces, collection) and ephemeral (text, video, music etc.). Music, the presentation concludes is often considered as a “mere” satellite, but with thought and careful design there is no reason why music can not also become the narrative kernals of interpretation.

 

COHEN, A. J. 1998. The Functions of Music in Multimedia: A Cognitive Approach. Fifth International Conference on Music Perception and Cognition. Seoul, Korea: Western Music Research Institute, Seoul National University.

COLLINS, K. 2008. An Introduction to the Participatory and Non-Linear Aspects of Video Games Audio. In: RICHARDSON, J. A. H., S. (ed.) Essays on Sound and Vision. Helsinki: Helsinki University Press.

HAMARI, J., KOIVISTO, J. & SARSA, H. Does Gamification Work? — A Literature Review of Empirical Studies on Gamification.  System Sciences (HICSS), 2014 47th Hawaii International Conference on, 6-9 Jan. 2014 2014. 3025-3034.

HARGOOD, C., JEWELL, M.O. AND MILLARD, D.E. 2012. The Narrative Braid: A Model for Tackling The Narrative Paradox in Adaptive Documentaries. NHT12@HT12. Milwaukee.

LAZARRO, N. 2009. Understand Emotions. In: BATEMAN, C. (ed.) Beyond Game Design: Nine Steps Towards Creating Better Videogames. Boston MA: Course Technology / Cangage Learning.

PANKSEPP, J. A. B., L. 2012. The Archaeology of Mind: Neuroevolutionary origins of human emotions, New York, W. W. Norton & Company.

SHIRES, L. M. & COHAN, S. 1988. Telling Stories : A Theoretical Analysis of Narrative Fiction, Florence, KY, USA, Routledge.

SYLVESTER, T. 2013. Designing Games – A Guide to Engineering Experiences, Sebastolpol, CA, O’Reilly Media.

Chawton Untours and more

It’s a funny feeling time. The calendar pages seem to flicker by as the year rushes towards its end, the the deadlines for various aspects of the Chawton project loom ominously. On one level I worry I have achieved so little and yet, on an other so much has gone on. So it seems inevitable that this post will consist of a number of short catch-ups on various aspects.

Untours

First of all, I’ve got a name for what we offer the public next year. I’d been struggling to think of how I’d present the project to Chawton’s visitors in a way that meant something. I’ve been calling it “the project”, “my experiment” or a “responsive environment”, none of which would sell the concept to potential participants. But a few weeks back I met a colleague who told me about an experimental opening of the Roundhouse in Birmingham. Working with a couple of performance poets, they opened the building for sneek previews that they called “Un-Tours“.

The National Trust’s Un-Tours are not quite the same as what I’m planning of course. But I thought it was a perfect name: visitors will explore the house with a volunteer, but the volunteer won’t be a guide leading them from room to room. They choose where they go, and what they look at, and the volunteer responds to their interests with the relevant natoms. So my volunteers are Unguides, and the tours, Untours (I decided we didn’t need the hyphen). I told my colleague there and then that I was nicking the name.

A collaborator!

The next exciting thing that happened was meeting Ed Holland. Ed is studying Music at Southampton, and was looking for a studio project. He has agreed to help me with the sound natoms. I met him for a second time yesterday, with the always brilliant Jeanice Brooks, and we started to break the musical narrative, focused on domestic life at the turn on the eighteeth/nineteenth centuries, which will reference the Jane Austen connections that Chawton has, without being about her (given there’s a museum dedicated to her just down the road).

Talking about sound

Of course between those two meetings with Ed, I’ve been thinking a lot about sound. As long time readers may be aware, I’m keen to put as few barriers/filters as possible between the visitor and the space they are in. So my preference is always for speakers, but Ed suggested that headphones may offer a more immersive soundscape for less money.

However, one of the key investigations of this project is to investigate a set of “contention rules”, for when more than one visitor/visiting group enter the same space with different story needs. Of course, if everyone were wearing headphones, that soundscape contention wouldn’t be an issue. Which may be a good thing (for visitor experience) as well as a bad one (for my investigation). I’ve also been thinking about other ways my paltry budget might limit what we can achieve. I hope to store all the assets on the web (in Scalar currently) so that a volunteer Unguide can use any smart device to participate (BYD). But of course, that will (I’m thinking – you may know differently) limit each Unguide to delivering just one channel of sound to his/her visitor group. Of course that limits Ed’s ambitions for a multi-channel directional soundscape, but he is making contact with some of the sound guys in our School of Engineering to see if there’s any cool stuff (or speakers) we can use at Chawton.

Assuming we don’t get to borrow anything cool though, I’ve suggested that Ed:

  • Works on a creating a music/sound library based on the lowest spec – single channel a cheap Bluetooth speaker in each room.
  • Specifies the hardware requirements for a system that might deliver his ideal soundscape, either using a multichannel directional speaker system or headphones (Imagine 20 headphone users in the house at the same time). I can guarantee I won’t be able to afford it, but it would be useful research anyway. And we could test a limited version of the concept, with borrowed equipment, during the pilot stage (currently scheduled from the beginning of December in my project plan).

My budget, though tiny, is flexible (it’s my own money) so, I could maybe stretch to something in between the two extremes, if it was something that offered some of the functionality Ed would really want, and maybe had some domestic life afterwards.

Story troubles

The thing that I’ve had most trouble with these last few weeks is the story. I wanted to have at least three narratives – one of the history of the building (and I thought an early 20th century owner, Montague Knight, would be the easiest focus for that); one on Women’s Literature, and the Austen one, mentioned above.

I’n my innocence I thought that I would quickly knock-out an emotionally compelling Montague Knight narrative, but after weeks of reading, arranging and re-arranging, I’ve realised that (duh!) real life stories don’t comply with literary “rules”. Or rather, I’ve realised that maybe my standards, my expectations, for this were too high. I’ve wasted time trying down a rabbit hole, trying to craft a story that I was going to muck up anyway by letting visitors make their choices. I was crafting a traditional guided tour, not an Untour! So, I’ve decided on a different tack. Instead, I’m going to spend some time analysing the natoms I already have, and attributing a story beats to each one. The story should (after all) be procedural.

The outcome of this experiment isn’t (wasn’t ever) meant to be the best interpretive experience. all it is is a step towards the understanding how procedural narratives might work in historic spaces.

A little bit of the history of interactive storytelling at Chawton


I spent yesterday morning at Chawton, locating and counting plug sockets so @ll know my limitations as I design whatever the experience there will be next March. The visit reminded me that I had meant to write here of a previous digital interpretation experiment at Chawton.

Back then, in 2005, the Chawton House Library was not widely open to the public. Primarily a centre for the study of Women’s Literature, one could argue that the visiting academics were also heritage visitors of a sort, and the house and gardens also welcomed some pre-booked visiting groups, such as the Jane Austen Society of America, and local garden societies. In their conference paper, a team from the universities of Southampton and Sussex describe how, looking for “curators” to work with they co-opted the trust’s Director, Estate Manager, Public Relations Officer, Librarian and Gardener. All these people may have taken on the role nut just of curator, but also guide to those visiting academics and groups. The paper attempts to describe how their tours interpret the place:

visitors’ experience of the house and its grounds is actively created in personalized tours by curators.

“House and grounds are interconnected in a variety of ways, e.g. by members of the family rebuilding the house and gardens or being buried in the churchyard. Thus artifacts or areas cannot be considered in isolation. There are many stories to be told and different perspectives from which they can be told, and these stories often overlap with others. Thus information exists in several layers. In addition, pieces of information, for example about a particular location like the ‘walled garden’, can be hard to interpret in isolation from information about other parts of the estate – there is a complex web of linked information.[…]

“Curators ‘live the house’ both in the sense that it is their life but also that they want to make it come alive for visitors. The experiences offered by Chawton House are intrinsically interpersonal – they are the result of curators interacting with visitors. Giving tours is a skilled, dynamic, situated and responsive activity: no two tours are the same, and depend on what the audience is interested in. They are forms of improvisation constructed in the moment and triggered in various ways by locations, artefacts and questions.”

Tours are a brilliant way of organising all those layers of information, and I’m sure a personal tour from any one of the curators that they identifies would have been excellent. But the problem comes as soon as you try to scale, or mass produce, the effect. As I said at a conference I presented at a couple of weeks ago (I’m reminded I should write about that too) people, even volunteers, are an expensive resource, and so only the smallest places can afford to give every visitor a guided tour experience. Even then, individuals or families have to book on to a tour, joining other people whom they don’t know, and whose interests they don’t necessarily share. The guided tour experience gets diluted, less personal, less tailored to your interests. Which is when you start getting people saying they would prefer to experience the site by themselves, rather than join a tour. Of course some tour guides are better at coping with these issues than others, but visitors are wary of taking the risk with a guide they don’t know, even if they can recount experiences of brilliant guided tour experiences.

The project written about in the paper had two sides, one was to try and produce content for schools, but the other was of particular interest to me:

“The curators are interested in being able to offer new kinds of experience to their visitors. We aim to find out what types they would like to offer, and help to create them. There is thus a need for ‘extensible infrastructure’ based on a basic persistent infrastructure that supports the creation and delivery of a variety of content.”

And four questions they ask themselves are also of particular interest:

  • “How can we enable curators to create a variety of new experiences that attract and engage different kinds of visitors, both individuals and groups?
  • “How do we engage curators in co-design of these experiences?
  • “How can curators without computer science backgrounds contribute to the authoring of content for the system?
  • “How do we create an extensible and persistent infrastructure; one that can be extended in terms of devices, content and types of experience?”

At the time of writing the paper, they had conducted a workshop with their chosen curators, using a map with 3D printed features. Although “use of a map in the first instance may have triggered somewhat different content,” they discovered that “Eliciting content from curators is most naturally and effortlessly done in-situ.” (Which is my plan – I’m in the process of fixing a date with one of Chawton’s most experienced tour guides.)

I particularly liked the observation that “Listening to them is much more lively and interesting than listening to professionally spoken, but often somehow sterile and dull audio tapes sometimes found in museums and galleries.” So enthusiastically did the team connect with the curators’ presentation, that they decided to record the tours and edit them into the narrative atoms that were delivered by their  infrastructure. That infrastructure was not the subject of the paper, but if I recall correctly, GPS based running on “Palm Pilot” style hardware.

More importantly, the most pertinent conclusion was that the curators were best placed, not just to select the narrative atoms from the recorded materials but also “sort them into
themes and topics, so that the system can cater for people with different broad interests, for example landscape, flora and fauna, or how Jane Austen’s writing reflects the environment. This necessitates a learning process, which must build on existing practices and over time develops new practices based on experience and reflection.”

That took longer than expected

At the natoms of the Chawton Guide book
At the natoms of the Chawton Guide book

I’ve finally broken the Chawton House Library guidebook down into it’s component narrative atoms (or natoms). I’ve got plenty more to do this weekend. In order:

  • prepare my presentation for Thursday at the University (in which I really wanted to include the above image);
  • do all the design work I promised Nashwa for our collaboration project (Nashwa, if you are reading this, I don’t think I’m going to meet the “Saturday Night” deadline I set myself); and.
  • create a first draft Gantt chart for the rest of the Chawton project up to Easter next year.

But right now, my Gero has just pinged that its time to stop work, so a walk is in order.

Looking for emotional triggers at Chawton

ChawtonLinkedDiningRoom

Just a short post to share this image of a natom network that is slowly getting more complex as I break the stories from the Chawton’s guidebook down. I’m about a third of the way though.

As I go I’m looking especially for natoms with a certain emotional resonance, that might become some of the emotional triggers that really hook people into the place’s story. So far a few things in particular have had the effect (on me) that I’m looking for: a message to the future from Montague Knight, the nursury rhyme, Lucy Lockett lost her pocket, and the tragic death of Eleanor Verney.

Lots more work to do though…

“Breaking” Chawton’s story

I’ve been disassembling Chawton House Library’s guidebook and handout down into Natoms, as the very first stage of my project there. Natoms are not my idea, but a concept from Southampton colleague Charlie Hargood. However, for my purposes I’ve distinguished between Persistent natoms (or P-natoms) which are physical and thus, for the a heritage visitor, stay in one place and do not change, and Ephemeral natoms (or E-natoms) which are not tied to a particular place or even form, they are any media which can be digitally transmitted and shared, such as text, video or music.

To break the guidebook that Chawton supplied down, I’m currently using Scalar, for reasons I explained in an earlier post. It took a little time for me to work out how I should best use it, and to be honest I think I might come unstuck when I start distinguishing between kernels and satellites, but right now I’m getting into the flow of it, so before I went too far, I thought it would be good to share.

First of all I wanted to to some of the P-natoms in place. These are the rooms that our visitors will be exploring. It was very easy to list the rooms, and soon I had that list of rooms, each tagged as a P-natom, looking like this in Scalar’s useful “connections” visulisation:

ChawtonP-Natoms

But I had a slight crisis of confidence about how best to illustrate the links between spaces, or as Bill Hillier puts it, the permeability. Scalar allows simple hyperlinks, but doesn’t visualize them, or make them reciprocal. It also has a Path function, but that is only one way, really for stringing natoms together into a long-form text. So in the end I went for the program’s tagging function, which is quite sophisticated in distinguishing between items “being tagged” and “tagging”. Once I’d tagged the transitions betwene the listed spaces, my visualization looked like this:

ChawtonLocationConnectionsTagged

I added the gardens at this point. I plan to keep my experiment within the walls of the manor house itself, but some doubt, or fear that I wasn’t future-proofing the model, made me put them in, as the exit form the gift shop.

These spaces are by no means all the P-natoms. More of the the collection will go in later. Next however I wanted to try adding some E-natoms. And that meant starting by breaking down the guidebook text. The first part of the guidebook was an essay, a brief chronological history of the place. Broken down into its constituent parts, and tagged as E-natoms, this is what that essay looked like:

ChawtonE-natomsChronology

As you can see, at this stage there is no connection between the the new E-natoms and the P-natoms, or between the story and the place. However, already some (but at this stage surprisingly few) of the e-natoms were suggesting engaging stories: which I’ve tagged “Literary Women” and “Jane Austen”. But look what happens when you start adding in parts of the collection, in the spaces in which they are displayed, and their associated stories. To two P and E-natom “solar systems” start to join together:

ChawtonlinkingE-natomsandP-natoms

This is after the collection in just one space, the entrance hall, has been broken into the natoms. Its going to get a lot more complex as work progresses.

Chawton

I dreary day to photograph a fine building, but the meeting made up for the weather!
A dreary day to photograph a fine building, but the meeting made up for the weather!

Just a quick note today to reflect on the meeting I had this morning with Gillian Dow, Executive Director of Chawton House Library. This place has been preying on my thoughts since I visited for the last Sound Heritage workshop. In fact, somebody (my friend Jane and her colleague Hilary) had suggested last year that it might be the perfect place to try out my Responsive Environment ideas. But my visit for Sound Heritage made me think more and more that they were right.

  • The place has many interesting stories but ones that can conflict with each other. Do people what to know about it’s centuries as a residence for the Knight family, its connections with Austen, and/or its modern day research into early female writers?
  • It’s a place that hasn’t been open to the public long (this year its its first full season welcoming days out visitors) and is still finding it’s voice.
  • Its relatively free of “stuff” and has modern display systems (vitrines and hanging rails), which means that creating the experience should not be too disruptive.
  • It has pervasive wi-fi (the library’s founding patron Sandy Lerner, co-founded Cisco systems) which will make the experiment a lot easier and cheaper to run, even though I’ve decided to Wizard of Oz it.

So today I explained my ideas to Gillian and, I’m pleased to say, she liked them. We’ve provisionally agreed to do something in the early part of 2017, before that year’s major exhibition is installed. I brought away a floor plan of the house, and I have just this moment received a copy of the draft guidebook, so I can start breaking the story into “natoms”. It looks very much like its all systems go!

I have to say I’m very excited.

(But right now, I’m meant to be taking the boy camping so, I’ll leave it there…