Smarthistory: The Blog

The Unicorn in Captivity (one of seven woven hangings popularly known as the Unicorn Tapestries or the Hunt of the Unicorn), 1495–1505, South Netherlandish, Wool, silk, silver, and gilt (The Cloisters, The Metropolitan Museum of Art)

 

 The Unicorn in Captivity (one of seven woven hangings popularly known as the Unicorn Tapestries or the Hunt of the Unicorn): Play Now | Play in Popup | Download

Smarthistory:

* Makes use of the web – hyperlinks, multimedia, commenting, etc.
* Demonstrates an affordable development model
* Offers a reusable template for the humanities
* Demonstrates how to easily create multimedia
* Has an intuitive navigation – offering multiple paths for learners
* Teachers can link to pieces of content or download content
* Demonstrates how to create accessible, engaging content
* Modles effective image-based learning

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Last week I had the pleasure of talking about Smarthistory.org’s conversational technique with 15 teachers from public schools across the country. They had come to the Smithsonian American Art Museum for the week-long Clarice Smith National Teacher Institute, held from August 3-7, 2009. Their objective was to learn how to use art to teach across the curriculum, and our New Media team’s role was to give them some new technology skills for the classroom: blogging, podcasting, and incorporating multimedia into classroom powerpoint presentations.

[Link here to the slides]

But to underscore that the technology is but a vehicle for the content, I couldn’t resist talking a bit about interpretation and different approaches to audio content design as well. We looked at scripted content, which should be more like blog posts written for the ear than recorded versions of object labels; interviews with experts such as artists or curators – always a favorite with audiences; and ‘vox pops’ that incorporate visitors’ opinions, for example, as is common in SFMOMA’s Artcasts; and conversations about art, like SmartHistory.org’s.

To illustrate the conversational approach, I played Beth and Steven’s podcast about American artist Mary Cassatt’s 1894 Breakfast in Bed in the Huntington Library in California, and we talked about how the informal dialectic space models learning, inviting the listener to join the conversation and develop his or her own views of the artwork. Even the speakers’ early disagreement in the podcast about which town they were in serves to reinforce this useful information about the Huntington, while lightening the tone and lending the podcast an approachable atmosphere.

We also looked at the context in which listeners experience the audio content: are they moving through the museum, sitting in the classroom, or on a bus? Are they looking at an artwork or a high-quality image of it online, or is this mainly an audio experience? And is the best vehicle for the podcaster’s message a traditional audio tour ‘stop’ or ‘soundbite’, that focuses on a given artwork in-depth, or is it an overview of a gallery (like this one Beth & I experimented with at the IMA), exhibition or theme that immerses the listener in a ‘soundtrack’ to provide a higher level guide or general tools for understanding an artist, a collection, a period?

Whatever their tack, I recommended that the teachers start with the questions that come immediately to mind for their students when they confront the art under consideration. These will range from the empirical ‘what is this?’ to the philosophical ‘why is it important?’ questions, and will be inflected by the specific content and context of the art. Here are some we collected from visitors to the folk art section of our Luce Foundation Center, an open study/storage facility displaying about thirty-three hundred objects in a compact space over three floors of the Museum’s west wing, where we are in the final stages of creating a cross-platform audio tour:

1. What makes folk art, ‘art’? How is folk art different from fine art? Why is it in museums?
2. Who makes folk art? What were the people who made it like?
3. What do the symbols mean?
4. Where does all this stuff come from?
5. What is it made of?
6. Why are fishing lures considered art?
7. What is up with the penguins?
8. Where did all these fish come from? One person or lots of people?
9. I’d like more information about the “memory” idea about the ceramics that have the stones and other objects. Could you give an example from one of these pieces?

The ‘leading with questions’ methodology could come straight out of a market research or customer service manual. By responding to what your listeners have foremost in their minds, you engage them in a mental dialogue that then opens up a space where other ‘key messages’ can be more easily received as well. You validate their questions and interests, so they are more likely to want to listen to what else you have to offer.

Of course the best way to learn is to teach, so another interesting use of audio in the classroom is having students create their own podcasts. The Education Department of the American Art Museum has a very popular student podcast program, in which high school students record their reflections on selected artworks in the collection. Through the process of creating a script about an artwork and listening to their own words, the students’ writing skills improve immeasurably, in addition to their visual arts literacy.

I am now relishing the vision of podcasting and the SmartHistory.org conversational technique being refined throughout American classrooms and engaging future generations more deeply with art through the students that the Clarice Smith teachers will touch. I hope they’ll be as generous in sharing their tips and best practice with the community of art educators as Steven and Beth have been with me!

About Nancy Proctor
Formerly Head of New Product Development at Antenna Audio, Nancy Proctor is now Head of New Media at the Smithsonian American Art Museum. She also manages MuseumMobile.info and its wiki and podcast series on mobile interpretation content and technology for cultural sites. Nancy was recently appointed Digital Editor of Curator: The Museum Journal.