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 silhouette

Facility Management and Commercial Building Resource | BUILDINGS

Robotic Shadow
Body motion-based interactive installation, 2014


Takram was involved in the concept planning, art direction, and

technical direction for “Robotic Shadow,” a new content for the
robotic screen launched in late May 2014, at the Chiba Institute of
Technology inside Tokyo Skytree Town. This work provides the
audience with an intriguing and fun experience through a sensor
technology that “feels” human gestures and movements.
C ON C E P T : E x p e r i e n c i n g s e n s o r t e c h n o l o g y

In order to design robots that will coexist with human beings and
enrich human lives, a sensor technology for “feeling” human will and
gestures becomes necessary. This work is an exhibition designed for
the audience to experience a sensor technology that “feels” human
gestures and movements. Using 3D sensor technology, a surreal and
strange world is displayed on the large screen, in which a group of
cubes stick onto one’s body like magnets, and circular balls fly and
crash into each other. By having the ability to “feel” human gestures,
one is able to experience a fun and strange imaginary world.
AP P R O AC H : Ap p l y i n g t h e l a t e s t t e c h n o l o g y t o e x p e r i e n c e - b a s e d
entertainment attraction

Ever since the opening of the Chiba Institute of Technology at

Skytree Town Campus, Takram has been involved in the experience -
based content production centered around the topics of robotic
engineering and planetary exploration research that are being
introduced by the school. Takram is in charge of the art direction and
technical direction of an experienced-based entertainment attraction
that applies some of the latest technologies developed as part of the
school’s research efforts. These include the “Magic Card ON THE
FLY PAPER” developed using latest sensing and computer
technology, and “gigantic robotic screen,” which displays robots
made by Future Robotics Technology Center (fuRo) by linking a
robotic arm to a large-scale projector. Takram was in charge of
concept planning, art direction, and technical direction for this
project as well.
I N F O R M AT I O N : C h i b a I n s t i t u t e o f T e c h n o l o g y S k yt r e e T o w n C a m p u s

Chiba Institute of Technology at Skytree Town Campus, which

opened on the eighth floor of Tokyo Skytree Solamachi, is an
attraction zone for experiencing future technologies that apply the
latest technological achievements from the school’s research
activities. Based on Chiba Institute of Technology’s school
philosophy “to contribute to the world culture through technology,”
the facility instigates activities aimed to pioneer new wisdom for
mankind through scientific technology; contribute to the world
culture; and shape the future. The space provides the audience, from
children to adults, with an educational experience using various
entertainment attractions, applying results attained through research
in robot engineering and planetary exploration.

Chiba Institute of Technology Skytree Town Campus

8F Solamachi, Tokyo Skytree Town(R), 1-1-2 Oshiage, Sumida-ku,
Tokyo 131-0045, JAPAN
OPEN 10:30～18:00 (Free Admission)

Tel: 03-6658-5888
URL：http://www.it-chiba.ac.jp/skytree/
CREDIT

Art Direction & Technical Direction: Takram

Art Direction & Programming: METAPHOR Inc.
 Sound Design: Keiji Matsui
Exhibition: Chiba Institute of Technology

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All articles tagged: kinect
Fearful Symmetry:
Ruairi Glynn’s
mesmerising
installation comes
back to life
Published by Bakul Patki

This summer, visitors to Sao Paulo’s Itau Cultural Gallery find

themselves face-to-face with a host of artificial life forms.
Amongst them is a new version of artist Ruairi Glynn’s
interactive installation ‘Fearful Symmetry’, which was first
shown at the Tate Modern, London, in 2012.
28/07/2017

c0

openFrameworks / Robotics
Perspection –
Anamorphic image
and sound synthesis
across multiple
screens
Published by Greg J. Smith

An audiovisual installation by Matthew Biederman and Pierce

Warnecke, Perspection is an anamorphic projection with
directional sound that adjusts to a viewer’s position.
27/10/2015

c0

MaxMSP / Members / TouchDesigner

NO_THING – An
infrared light
framework that turns
(almost) anything into
a device
Published by Alexander Scholz

Developed by the Innovation Lab of Milla & Partner GmbH, a

German interaction and spatial design agency based in
Stuttgart and Berlin, NO_THING is a tracking and mapping
framework that uses infrared light to turn portable physical
objects into interactive displays.
04/09/2015

c1

Members / openFrameworks
Connected Worlds –
Interactive ecosystem
for NYSCI by Design
I/O
Published by Filip Visnjic

Created by Cambridge (US) based creative studio Design I/O,

Connected Worlds is a large scale immersive, interactive
ecosystem developed for the New York Hall of Science.
24/06/2015

c1

Members / openFrameworks
EGO – Between the
real and symbolic
Published by Filip Visnjic

Created by Klaus Obermaier with Stefano D’Alessio and

Martina Menegon, EGO is an interactive installation that
explores the concept of ‘mirror stage’ objectification resulting
in a conflict between one’s perceived visual and emotional
experience.
23/02/2015

c0

MaxMSP / Members
Momentum –
Interactive framework
for creating visuals
from body movement
Published by Filip Visnjic

Developed by Schnellebuntebilder and Kling Klang Klong,

Momentum is an interactive framework to create synaesthetic
experiences of sounds and visuals generated from a body’s
movement. The idea to create a real-time analytics tool for
movements started at the Choreographic Coding Lab of
Motion Bank in 2013 and was quickly set in motion. Based on
the intensity and direction […]
20/11/2014

c0

Members / News
Breaking the Surface –
Responsive ‘ocean’ of
acrylic actuators
Published by Filip Visnjic

An abstract representation of this landscape is created from a

matrix of 529 acrylic pipes piercing the ceiling between the
first and the second floor, creating organic rock-like
formations on the first floor reflected as an ocean surface on
the second.
18/08/2014

c0

Featured / Members / openFrameworks

Lunar Surface –
Drawing digital mass
in physical space
Published by Filip Visnjic

Lunar Surface is the latest in the series of projects by the

Kimchi and Chips duo investigating digital light as a semi-
material to articulate digital visual mass in physical space.
19/06/2014

c1

Featured / Members / vvvv

Le Vent Nous Portera
– Magnificent forest by
Alexander Letcius and
Bulat Sharipov
Published by Filip Visnjic

Saint-Petersburg based Alexander Letcius and Bulat Sharipov

create a magnificent virtual forest, illuminated by luminous
flying creatures that react to visitors’ position.
28/04/2014

c0

Members / TouchDesigner
May The Force Be
With You – Teo Park
Published by Filip Visnjic

Created by Seoul based artists Teo Park, “May the Force be

With You” is a kinetic installation that invites visitors to interact
with an interactive water tank. The tank uses gravitational
force driven by the position of the viewer’s hand movement.
10/03/2014

c2

Arduino / Members / Processing

Type/Dynamics –
LUST and the work of
Jurriaan Schrofer at
the Stedelijk Museum
Published by Filip Visnjic

‘Type/Dynamics’ is a new interactive installation by LUST for

the exhibition of work by the graphic designer Jurriaan
Schrofer (1926-1990) at the Stedelijk Museum in Amsterdam.
20/12/2013

c0

Featured / Java / Members

Long Distance Art –
One artist, two robots
and three paintings in
Vienna, Berlin and
London
Published by Filip Visnjic

On September 26th the Vienna Tourist Board will be hosting

an event where Alex Kiessling is creating artworks not only in
Vienna, but simultaneously in Berlin and London with the help
of 2 industrial robots.
20/09/2013

c0

Members / vvvv

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Transforming the Art Museum

Experience: Gallery One
Jane Alexander, USA, Jake Barton, USA, Caroline Goeser, USA

Abstract

How can art museums use interpretive technology to engage visitors

actively in new kinds of experiences with works of art? What are the
best strategies for integrating technology into the project of visitor
engagement? The Cleveland Museum of Art has responded with the
ground-breaking Gallery One, an interactive art gallery that opened to
stakeholders on December 12, 2012, and went through a six-week
testing period until its public opening on January 21, 2013. Gallery One
draws from extensive audience research and grows out of a major
building and renovation project, in which CMA has reinstalled and
reinterpreted the entire permanent collection in new and renovated
gallery spaces. The end result is a highly innovative and robust blend of
art, technology, design, and a unique user experience which emerged
through the unprecedented collaboration of staff across the museum and
with award-winning outside consultants.

Keywords: multimedia installation, mobile application; interpretive

interactive installation, augmented reality, interior wayfinding, image
recognition, art museum, intergenerational learning
1. Introduction – Gallery One
Located at the entrance to the Cleveland Museum of Art (CMA), Gallery
One welcomes visitors into an active, 13,000-square-foot space where
art and technology provide a dynamic environment for visitor
exploration. With entrances at both the main lobby and the museum’s
new, centrally located atrium space, Gallery One can be accessed easily
at different points during a museum visit. As part of an overall program
of art interpretation and visitor outreach, Gallery One’s innovative blend
of art and technology invites visitors to connect actively with the art on
view through exploration and creativity. Designed for visitors of all
ages, both novice and seasoned, the technology interfaces inspire visitors
to see art with greater depth and understanding, sparking experiences
across the spectrum from close looking to active making and sharing.

Figure 1: The Beacon, as seen through the entrance to Gallery One (photo
courtesy of Local Projects)
In the main section of Gallery One, top quality works of art—including
many visitor favorites—are organized into thematic groupings that cross
culture, chronology, and media. Multi-touch screens embedded in the
gallery space invite close examination of the objects on view. Placed 14
feet in front of the groupings of art objects, the screens offer
interpretation and digital investigation of the art. In these interactives,
each artwork in the installation is interpreted through storytelling
hotspots with opportunities to explore artworks visually through
magnification and rotation, and to discover their original context and
location. Each interface has a series of “games” that invite visitors to
engage with the art on view through questions and experiences.

For example, one of the first art installations that visitors encounter is
titled “How Do Our Bodies Inspire Art?” It offers a broad look at
CMA’s encyclopedic collections of sculpture, including an ancient
Roman marble athlete, a ceramic Japanese Haniwa figure, a wooden
African sculpture, and a bronze head by Rodin. The games in the
interactive that interprets this installation encourage visitors to connect
actively with the collection and see themselves in the art on view.
“Strike a Pose” invites visitors to explore figurative sculpture by asking
them to match the pose of a sculpture they see on the screen. A motion
sensor records their pose, and the interactive determines how closely the
visitor has approached the artist’s sculpted body. “Make a Face” offers
visitors the chance to investigate the museum’s collection of portraits
through face-recognition software. A webcam records their facial
expressions and matches them to works in CMA’s collections. “Build in
Clay” encourages visitors to make a sculpture in clay by virtually
kneading, rolling, coiling, cutting, and assembling. Visitors can share all
of their creations through email, Facebook, and Twitter.
Figure 2: How Do our Bodies Inspire Art? – View of the Sculpture Lens. Photo
courtesy of Local Projects
Studio Play is a dedicated space within Gallery One that allows families
to explore the museum’s collections and create art together through
hands-on activities and interactive technology stations. Kids can use
easels to create a colorful drawing, and parents can place it in a frame
for all to see their work on the walls of CMA. Families can create a
dramatic production with shadow puppets, based on works from CMA’s
collection. They can also discover an interactive, multi-touch screen that
allows them to make simple lines or squiggles. The interactive then
reveals works of art in our collection that incorporate the same lines and
squiggles. It’s a fun way for families to become visually familiar with
the art they will see in CMA’s permanent collection galleries.
Figure 3: Line and Shape Interactive – Kids search the collection by drawing in
Studio Play. Photo courtesy of Local Projects
At the section of Gallery One closest to the museum’s new atrium, a 40-
foot multi-touch MicroTile Collection Wall dramatically visualizes all
the works currently on view in CMA’s permanent collection galleries,
plus some that are in storage— over 3,800 works of art. A few seconds
later, the wall changes views, allowing visitors to see a series of focused
groupings of objects from CMA’s collection, organized around curated
themes like “Love and Lust,” “Funerary Art,” and “Dance and Music.”
They will also see objects grouped by medium or geographical region,
drawn dynamically from CMA’s digital asset management system. This
huge interactive tool allows visitors to see the permanent collection as a
living organism, changing depending on the prism through which you
view it. The Collection Wall further functions as a giant group and
individual touchscreen interactive, and allows visitors to touch the
objects represented on the wall to make discoveries. Visitors follow their
curiosity through a visual interface that links each artwork to a series of
associated artworks, giving visitors the opportunity to browse and
explore relationships from object to object. Visitors can favorite works
of art and discover tours that then launch them on a pathway through the
museum’s galleries.
Visitors may also use ArtLens, CMA’s new iPad app, to deepen their
experience. Visitors can download it for free to their iPads, or pre-loaded
iPad 4’s are available to rent on location for a nominal fee of five
dollars. The app is designed for three visitor behaviors:

1. The “Near You Now” function allows visitors to browse and find
digital interpretation of works of art they like based on proximity.
Content is designed in short segments of audio and video, allowing
visitors to choose what they want rather than committing to a long,
linear narrative. Visitors can hear from curators, educators, and
community members to discover the continuing traditions that bring
art to life.
2. The “Tours” function allows visitors to have a more structured
experience in the galleries, taking a tour curated for the block of
time they have available. They can walk through the galleries with
CMA’s director to discover his favorites, or they can follow a
theme that carves a focused path through the museum’s galleries.
The two hundred most recently saved Visitor-created tours are also
available.
3. The “Scan” function uses image recognition to allow visitors to
scan two-dimensional art objects to trigger texts or videos to pop up
on the iPad screen. The immediate delivery of this additional
interpretive content enables visitors to delve more deeply into the
app to learn more about a work of art.
Figure 4: Using ArtLens, visitors can take a tour of their own creation, by
favoriting artworks in ArtLens and on the Collection Wall. Photo courtesy of
Local Projects
In an unprecedented combination of technology interfaces, borrowed or
visitor-owned iPads can be docked at the Collection Wall, where visitors
can save objects from the wall to the ArtLens app, creating a playlist of
favorites. Visitors can author a custom tour from their list of favorites,
saving their tour in ArtLens and on the Collection Wall for other visitors
to discover. Through this feature, ArtLens provides an iPad experience
that allows visitors to navigate throughout the museum, both physically
and virtually from off site, providing far-reaching access to media-rich
stories for CMA’s treasured works of art. Taken together, this suite of
new interfaces transforms the visitor experience by extending the access
and creative agency of each individual visitor.

Development through Innovative Collaboration

The development of Gallery One and Art Lens represents a true and
equal collaboration among the curatorial, information management and
technology services, education and interpretation, and design
departments at the Cleveland Museum of Art. The development process
was guided by CMA’s chief curator and deputy director, an atypical and
noteworthy approach among museums in the design of interactive
technology spaces. This collaborative organizational structure is
groundbreaking, not just within the museum community, but within
user-interface design in general. It elevated each department’s
contribution, resulting in an unparalleled interactive experience, with
technology and software that has never been used before in any venue,
content interpreted in fun and approachable ways, and unprecedented
design of an interactive gallery space that integrates technology into an
art gallery setting. The museum also partnered with award-winning
outside consultants to realize the project, including Local Projects
(media design and development), Gallagher and Associates (exhibit
design), Zenith Systems (AV Integration), Piction Digital Image
Systems (CMS/DAM development), Earprint Productions (app content
development), and Navizon (wayfinding).

2. Goals of Gallery One: Empowering visitors

While the idea of an interactive space was part of the museum’s original
plan in the building and renovation project that broke ground in 2005,
the new Gallery One collaborative team was put in place in 2010. At that
time, the following goals were established for an interactive gallery that
would:

 Create a nexus of interpretation, learning, and audience

development
 Build audiences—including families, youth, school groups, and
occasional visitors—by providing a fun and engaging environment
for visitors with all levels of knowledge about art
 Highlight featured artworks in a visitor-centered and -layered
interpretive manner, thereby bringing those artworks to the Greater
Cleveland community and the world
 Propel visitors into the primary galleries with greater enthusiasm,
understanding, and excitement about the collection
 Develop and galvanize visitor interest, bringing visitors back to the
museum again and again
Development efforts centered on providing visitors to this new space
with a transformative experience, allowing them to:

 Feel empowered to browse, explore, and create personal meanings

about the museum’s collection
 Enjoy an organic, visitor-driven experience in the space without
feeling like the experience is haphazard
 Employ engaging interactives, both technological and hands on,
that use investigative methods and tools for critical observation to
develop an engagement with the collection and interpretive
concepts about the collection
 Create a personalized profile driven by their interests
3. Audience research: Putting the visitor front and center
In 2009, CMA began a concerted effort to make visitors central to the
reinstallation and reinterpretation of the permanent collection by
evaluating visitor responses to the earliest phase of gallery
reinstallations. As a critical component of this initiative, Gallery One is a
fundamental expression of the museum’s broader efforts to refine its
relationship with audiences in Greater Cleveland and beyond.

In gathering data from its visitors, CMA has taken advantage of

transformations in the fields of museum education and visitor studies
that have provided new ways of understanding museum visitor behavior.
Rather than collecting data on demographic information alone, experts
have found that collecting information on how visitors tend to behave in
museums and what motivates their visits can provide a more nuanced
visitor profile to guide museum interpretation and program development.
In 2009, John Falk released Identity and the Museum Visitor Experience,
an important study that shifted thinking from characterizing visitors by
demographics alone to segmenting their motivational behavior by
individual experience-seeking styles. The Dallas Museum of Art
followed in 2011, with Ignite the Power of Art (Pitman & Hairy,
2011) detailing their long-term research initiative to understand the
triggers that engage visitors with art. Both of these models capture the
spirit of the work begun at CMA: to learn our visitor styles and what
ignites their visiting museum experiences. These efforts can be seen as
an extension of the museum’s long-standing focus on art and education,
which were given expression in the groundbreaking 1994
publication The Visitor’s Voice, which summarized the findings of a
three-year program of audience research and evaluation that informed
the installation of CMA’s galleries of Renaissance and Baroque art
(Schloder, Williams, & Mann, 1993).
At the CMA in 2009, a major visitor study conducted by Marianna
Adams of Audience Focus, Inc. allowed us to ascertain how visitors
were making meaning in the newly reinstalled galleries of European and
American art, circa 1600 to 1800. In this summative evaluation of the
interpretive strategies employed by the museum in the historic 1916
Building, Adams asked: how were the interpretive themes that we had
chosen for the new galleries received by our visitors? How could the
lessons we learned as a result of the study be applied in future
installations?

The study conveyed that many of the visitors to our permanent

collection galleries can best be characterized as browsers, not seeming to
have a predefined agenda for their visit other than gravitating to the
works of art to which they respond strongly based on their tastes and
prior knowledge. In the aggregate, visitors told us that they had not
really thought about overarching themes that organized the works in a
gallery, but were more drawn to individual works of art. Accordingly,
they tended not to read the interpretive introductory gallery texts, but
instead read object labels if they wanted to know more about a work
they liked.
Figure 5: CMA galleries make visitors central to the reinterpretation of the
permanent collection. Photo courtesy of Local Projects.
This browsing mode, from object to object, provides a challenge to
museum educators and curators who have conceived of the permanent
collection gallery as a unit, with broad concepts organizing the
individual works into a cohesive whole. If visitors were not picking up
on the thematic concepts, how could the interpretation have been
successful? Jay Rounds, professor of museum studies at the University
of Missouri-St. Louis, addressed this conundrum in Curator (Rounds,
2006):
Visitors come to museums for their own reasons, and those reasons are
not necessarily congruent with the goals of the museum. No doubt their
browsing through exhibits is suboptimal when compared against [a]
museum’s goal that visitors “engage in systematic study or
exploration.” But the same [browsing] behavior may prove to be an
intelligent response to the situation when measured against the goals of
the visitors themselves.
Rounds opened our eyes to the implications of our own visitor study. Art
museum visitors don’t behave as students—why should they? They have
a variety of reasons for their visits, many related to leisure-time pursuits.
We have them for an average of six minutes per gallery—which is
actually longer than visitors at other museums. As a result of our
research, we now ask ourselves, how can we hook visitors as they
browse, and how can we provide the kind of interpretation that will open
up our expectations and honor visitors’ browsing behavior?

Responding to audience research: the conception behind Gallery

One and ArtLens
Gallery One is conceived and approached as an interactive space that
seeks to connect art and ideas, forge connections between art and people,
and provide visitors with tools that enhance their permanent-collection
gallery experiences. The Gallery One space brings art and ideas together
to facilitate inquiry and discourse among visitors. Information is
delivered in ways that feel like experiences rather than didactic lessons,
allowing visitors to drive their own encounters with works of art and
share their experiences with each other. In doing so, the museum looks
to visitors to engage each other in the collections rather than positioning
the museum as the sole voice and arbiter of the visitor experience.
Gallery One is aimed at both novice and experienced visitors, and
encourages people to use the museum as a place to spend time learning,
exploring, and having fun with each other.

Gallery One is organized in three sections, each asking visitors a

question to engage them in their experience: (1) What is it, and what do
you see? (2) How is it made? (3) Why was it made? This approach
privileges inquiry-based techniques for exploring the collections, and
seeks to open new perspectives on the visual arts by moving away from
the conventional, art-historical narratives as the central, overarching
portal into the collection. Large interactive stations take the form of
horizontal lenses aimed at groupings of art and focused on a specific
question. This format encourages visitors to use the interactive lens as a
kind of transparent tool—to see through the technology for better
understanding and enjoyment of the art objects. The interactive lenses
are carefully engineered to allow visitors to enhance their experience of
viewing without creating a barrier to the physical works of art.

Figure 6: Gallery One. Photo courtesy of Local Projects

The Collection Wall is conceived as a tool for visitors to browse CMA’s
encyclopedic collection, and serves as a fulcrum between Gallery One
and the permanent collection galleries. It is designed to propel visitors
into the galleries by giving them a taste of the objects in the collection
and allowing them to create their own customized visit by downloading
objects and tours to their iPad. In this way, Gallery One is conceived as
an interactive space that is deeply connected to the entire museum and to
the overall gallery interpretation program, which has been recognized as
a model for art museums with a generous and prestigious NEH
Challenge Grant awarded in 2012.
Figure 7: The Collection Wall. Photo courtesy of Local Projects
The ArtLens app is conceived as a tool designed for multiple visitor
behaviors, responding directly to the lessons learned in our own and in
new visitor studies. Most importantly, it honors the browsing mode we
know so many of our visitors adopt in the galleries, allowing visitors to
scan works to find digital interpretation for works they gravitate toward
as they browse through the galleries. Further, in creating audio and video
interpretation with multiple voices and perspectives and experts and
community members in conversation, ArtLens is designed to model and
spark conversation among our visitors as they respond to works of art in
the galleries. ArtLens also enables visitors to share their favorite objects
in CMA’s collections through social media, to further extend
conversations and interpretation. As the New Media Consortium’s 2010
Horizon Report: Museum Editionsuggests, “Increasingly, museum
visitors (and staff) expect to be able to work, learn, study, and connect
with their social networks in all places and at all times using whichever
device they choose”; and “The abundance of resources and relationships
offered by … social networks is challenging museum professionals to
revisit their roles as educators” (Johnson et al., 2010). We are in the
process of exploring how to monitor and further contribute to
conversations about CMA’s objects that extend our iPad app
interpretation into social media venues. We are networking with
colleagues about successful forms of social media integration, social
engagement, and interactivity, and are in active conversation with staff
involved in the O-app at the Museum of Old and New Art, the Pinterest
project at the Chicago History Museum, and the Art Clix app at the High
Museum of Art (see Girardeau, 2012).

Figure 8: ArtLens app, Near You Now. Photo courtesy of Local Projects
4. Specifications of the interactives: Hardware and software details
The Collection Wall is a dramatic 40-foot interface displaying over
3,800 artworks from CMA’s collection at once, most of which can be
viewed in the galleries. The Collection Wall also presents thirty-two
curated themes, which can be changed by museum staff on an ongoing
basis. These views are looped in a 40-second cycle. Standing 5 feet by
40 feet, the wall is composed of 150 Christie MicroTiles and displays
more than 23 million pixels, which is the equivalent of more than
twenty-three 720p HDTVs. Every 10 minutes, an application content
management system updates the wall with high-resolution artwork
images, metadata, and the frequency each artwork has been “favorited”
on the wall and within in the ArtLens iPad app. Users can save favorites
to their iPad from the wall by setting their device in one of eight docking
stations, which identify an iPad by detecting an RFID chip on the back
of its case. The Christie iKit multi-touch system allows multiple users to
interact with the wall, simultaneously opening as many as twenty
separate interfaces across the Collection Wall to explore the collection.
Software was written using open Frameworks and runs on two Windows
7 workstations supported by four Linux servers processing the video
across the wall, and an RFID server managing the iPad station
connectivity.

The visitor’s favoriting and sharing activity creates metrics that enable
museum staff to understand what artworks visitors are engaging with,
creating a feedback loop with the museum. Visitors can also queue
curated themes to display on the Collection Wall, playing them like a
jukebox that changes every 40 seconds. These themes can be changed
dynamically by the museum, creating another mode of expression for
staff, and connecting with temporary exhibitions or creating new ideas
for the permanent collection.

The Beacon is a 4-by-4-foot array of 55-inch Edgelit 1080p LED

displays located at the lobby entrance to Gallery One. It plays a looping,
non-interactive program displaying both dynamic and pre-rendered
content. Content for “Dynamic” elements is pulled from the Sculpture
Lens. Individual face pairs from visitors playing the “Make a Face”
game on the “Sculpture” lens are assembled into photo strips, with each
photo strip containing four face pairs. New visitor photo content is
loaded in at the start of each loop, approximately every six minutes.
Content for top favorites is pulled from the network API. New content is
loaded in at the start of each stage. The number of favorites is
aggregated continuously over time, and the Beacon checks for updates to
the favorites database every cycle. The content for the Beacon is
generated and displayed in C++ and openGL, using the Cinder library.
The entire loop is approximately six minutes long and cycles
continuously. The events within the sequence incorporate the following:
“playback” stages display only pre-rendered video; “rendered” stages
display a composite of pre-rendered and generatively drawn elements;
“dynamic” stages display content being pulled and rendered in real time.
The Beacon deploys a video and communication bus to maintain
uniform color across the entire display. It is driven by a remotely located
Windows 7 workstation and extends video over Shielded Cat6 cable
with digital extenders.

Figure 9: The Beacon, encouraging visitors to engage within Gallery One. Photo
courtesy of Local Projects
The Lenses
In all, there are six interactive lenses in Gallery One, each composed of a
large-format interactive 46-inch touch screen that interprets clusters of
related artworks. Each lens is a 1080p HD display with a 32-point,
optically-driven multi-touch overlay. The modular design of the lens
housing provides for easy maintenance and minimizes down time. To
give the lenses a small footprint in the gallery, the Windows PCs
running the software for each lens are located in a remote server room.
Audio is supported from a hidden overhead speaker system that utilizes
an extremely narrow audio beam to isolate the audio to a 2-meter area
where the user would be standing. The sculpture lens uses a Microsoft
Kinect to track user skeletons for the “Strike a Pose” game, and a
webcam to track faces for the “Make a Face” interactive. The software
was written with a mixture of ActionScript 3/Adobe AIR and
C++/openFrameworks.

The “Lion” installation was the first grouping of artworks that we chose
and interpreted, and represents a significant break-through in conceptual
planning for the entire team. We knew we wanted to develop a thematic
arrangement that focused on animals, ever popular with a wide cross-
section of visitors. We further wanted the grouping to allow visitors to
investigate modes of artistic representation, from realism to various
forms of stylization in artworks across time and cultures. We chose the
lion as a familiar animal that visitors could readily call to mind,
recognize when realistically represented, and be surprised by when
rendered in an expressionistic or abstracted way. We also have a strong
selection of works that reference lions from a variety of perspectives,
across the collection. Local Projects was charged to develop a
technology interface to engage visitors with these objects and concepts,
using an interrogative and conversational style rather than didactic. They
developed an innovative approach, conceiving of the fixed technology
kiosk as a transparent lens onto the installation of artworks. They
animated the top level of the interface with a question: What does a lion
look like? The CMA team loved the simplicity of that question, which
was a call to discovery, recognition, and surprise, and became the
visitor’s entry point into the interpretive technology.

The lens software consists of a unified framework upon which a variety

of interactive multimedia, games, and vignettes were built. All six lenses
share a similar home screen layout, framing the artworks in front of the
lens. Touching any artwork on the screen opens the “Look Closer”
interactive, which shows high-resolution imagery of the artwork, many
of which were photographed from multiple angles and may be rotated
360 degrees and zoomed by touch. The artworks reveal assorted
informational hotspots relating to specific details of the work, the artist,
era, etc. through slideshows, text, and video. In addition to the “Look
Closer” mode, the lenses each have a theme and one or more unique
interactive games designed around that theme.

Sculpture Lens
Make a Face. In real time, facial recognition software matches a
visitor’s facial expression to artworks within CMA’s collection. The
visitor’s expression is captured and the system measures nodal points on
the face, distance between eyes, shape of the cheekbones and other
distinguishable features. These nodal points are then compared to the
nodal points computed from a database of 189 artwork pictures in order
to find a match. The matched faces are collected into photo-booth-style
strips that are then displayed on the Beacon near the gallery’s entry. The
visitor is also able to email their ‘photo strip’ to themselves and share
with others.
Figure 10: Search the collection by making different faces. Photo courtesy of
Local Projects

Figure 11: Visitors captured at the “Make a Face” game in the sculpture lens.
Photo courtesy of Local Projects
Strike a Pose. The visitor is shown an image of a sculpture in a unique
pose and asked to imitate that physical position. A Kinect sensor
measures how closely their pose matches the original and assigns a
percentage to indicate how well the visitor embodied the sculpture’s
pose. The better the match, the higher the percentage achieved. The
skeleton matching software uses a library of human-generated skeleton
data captured via the Kinect data to quantify the match between the
poses of a museum visitor and each sculpture. Visitors can email their
image capture, see other visitors’ images, and try another pose.
Figure 12: Visitors captured at the “gesture” game in the Sculpture Lens. Photo
courtesy of Local Projects
Figure 13: Visitors playing Expression game in Gallery One’s sculpture lens.
Photo by Local Projects
Build with Clay. Visitors can construct their own clay sculptures in the
same form as the Japanese Haniwa sculpture on display nearby. The
process of creation is presented through an interactive, multi-touch, stop-
motion video.
Lions Lens
Cast a Vote. This activity explores the ideas of realism in representation
and of art as a visual language. Polling questions present a progression
of thought about what a lion looks like and what a lion means, and
aggregates answers in a cumulative interactive infographic.
Epic Stories Lens
Find the Origin. Visitors are asked to match historical and contemporary
popular culture examples to three narrative archetypes that are
represented within the artworks in front of the visitor. Epic stories are
thereby understood as being retold across different eras and cultures.
After five matches, the visitor can watch a chronological sequencing of
all the examples within each archetype.
Tell a Story. The main plot points of the Perseus myth are extracted from
the tapestry hanging in front of the visitor, who is then allowed to put
them in any linear order to form a story arc within a comic book film.
Within the comic book style, visitors can rearrange each narrative plot
point within the cells of a typical comic book layout. They are then able
to add thought and speech bubbles and add their own text or a provided
sample. The visitor can then email to themselves the Perseus comic they
created. Within the film style, the visitor sequences the plot points to
select a soundtrack before watching their film in an animation.

Figure 14: Remix a tapestry into a comic book in the Tell a Story Lens. Photo
courtesy of Local Projects
Globalism Lens
Global Influences. The visitor is presented with an artwork and asked to
guess which two countries on the map influenced the artwork in
question. An introductory animation explores the hybridity present
within many artworks and design objects, thus calling attention to
specific examples of cultural cross-pollination.
Create a Vase. Images and text introduce the vase trade between Europe
and Asia. The visitor is able to make a vase by progressively building
upon chosen options (shape, materials, patterns, and techniques), each of
which is assigned a unique price estimate. The final product is
showcased alongside a similar vase within the CMA collection to
illustrate how techniques and origins affect the object’s market value.
Thirties’ Lens
Draw a Line. After a visitor draws a line across the screen, the
interactive calls up and displays one of 442 artworks from CMA’s
collection, which contains a similar line. All the artwork within this
game was created in the 1930s and contains additional information.
(This is an adaptation of the “Line and Shape” game located within
Studio Play; see below.)
Explore the 1930s. What was the world like then?: A narrative montage
of imagery from the 1930s depression era tells the story of the Great
Depression and Cleveland’s role in this period. The information
presented gives the visitor a context with which to approach the artwork
in the lens and form a deeper understanding of how these artworks fit
into the general themes of that era. The film is coupled with quotes from
Cleveland artists and an accompanying soundtrack.
Painting Lens
Choose a Reason. The visitor is presented with a large image of an
artwork from CMA’s collection (from a pool of 89 artworks in total) and
asked to select one of five reasons they think the painting was created.
Once selected, a visualization shows how other visitors in the museum
voted, along with a short caption giving further information about that
painting and the artist.
Make Your Mark. The visitor is presented with three abstract painting
techniques, represented by different objects from CMA’s collection. The
activity invites users to paint in the style of an abstract artist, exploring
the techniques of pour, drip, and gesture as paint color palettes are
generated from sample artworks. Visitors can contribute their painting to
a collection of visitor-created art on view in the lens.
Figure 15: Understanding abstract painting styles in Gallery One’s painting lens.
Photo courtesy of Local Projects
Remix Picasso. Introducing concepts of multiple and flattened
perspective, and fragmented forms, the visitor is invited to rearrange
abstracted elements or “pieces” of the composition in any way he or she
likes, exploring the interplay between flatness and depth. The pieces
may be manipulated through multi-touch zoom and rotate gestures.
Change Perspective. One-, two-, and three-point perspective is visually
presented via animated, morphing perspectival overlays as they are
applied to artworks within the collection. The visitor is then able to
manipulate a three-dimensional shape, shifting perspective according to
touch points across the horizon lines.
Discover Tempera. The tempera panel painting by Sano di Pietro
directly in front of the visitor inspires a demonstration of the tempera
process within the interactive. This visually captivating interactive
shows each of the five stages of the tempera painting process at a
zoomed-in scale. Each step in the process layers over another, and as a
process is completed, the visitor is able to slide the next step over the
last, seeing the highly detailed transition and effect of each stage in high
resolution. Each stage has an accompanying process video as well.
Studio Play: Two interactives
The “Line and Shape” interactive is located in the Studio Play area of
Gallery One and is oriented toward young visitors. Using multi-touch, it
allows users to “draw” lines across a small wall (twelve Christie
Microtiles) and matches those lines to those found within an artwork
within CMA’s collection. The software searches through over 10,000
annotated lines within 7,000 of the museum’s artworks. From those lines
and images, it chooses the artwork that includes a line that closely
resembles the drawn line and composites the artwork under the drawing,
so that the connection between the two becomes apparent. The
application is written in C++ and uses the openFrameworks library.
“Line and Shape” is unique in that it is the only exhibit running on the
Apple OSX platform. This is the first exhibit in the world to use the
Christie iKit on a MAC. The Line and Shape wall uses two linux
computers to process the video across the twelve MicroTiles.

The “Sorting and Matching” interactive employs two 42-inch, 32-point

multi-touch 1080p displays integrated into a custom table, with a narrow
beam line array speaker to support audio cues for the youngest users.
The displays are mounted back to back and share a housing. “Sorting
and Matching” runs on two remotely located Windows 7 machines, and
video and multi-touch is extended over Shielded Cat6 cable with digital
extenders.

ArtLens: iPad application

The ArtLens iPad application is a unique personal guide for museum
visitors. Loaded with video, audio, text, and still-image content, ArtLens
helps visitors to explore the artworks on display in the galleries and
encourages visitors to create their own customized tours. Visitors can
check out an iPad preloaded with ArtLens upon entry to the museum, or
bring their own iPad, and use the application both in Gallery One and
throughout the museum. The application has five main features: “Near
You Now,” “Tours,” “Today,” “Scanning,” and “Favorites” (indicated
by a heart icon). The ArtLens iPad experience will sense a visitor’s
location in the museum and offer digital stories about the surrounding
artworks.

The size of the initial software download is ~25MB. On first start up,
there is an additional download of data and featured image assets to
ensure app responsiveness. The size of this initial package is ~400MB
and generally takes about 5 minutes on site and 15 to 20 minutes off site,
the latter depending on internet connection. Other image assets are
downloaded on demand, with video assets being served via progressive
download. All images are cached by the app, but video is not.

Near You Now: On site, the app integrates the museum’s Navizon
service. This service, specifically installed for ArtLens, uses the nearest
wireless access points to triangulate the device’s position. Using this
indoor wayfinding technology, the visitor is alerted of nearby artworks
featured on ArtLens. These “Featured Artworks” have interpretive
media (including film, comparative images, text, and audio) and
scanning image recognition functionality, and are featured within a tour
or have related artworks associated with them for additional guided
looking.
Scanning: The scanning feature incorporates the device’s camera and
Qualcomm’s Vuforia image-recognition SDK to provide an augmented
reality experience for users on site. When a user scans artwork marked
with the ArtLens icon, the app will recognize the object and provide
context-sensitive content about the work. This content is anchored
within the app screen to the relevant regions of the physical artwork.
Figure 16: Using the scanning function of the ArtLens experience. Photo courtesy
of Local Projects
Tours: Visitors can select from both museum-curated and visitor-created
thematic tours, with artwork locations specified on an interactive map
that senses a visitor’s current position. Tours provide access to all
interpretive media. Because the tours are directly linked to CMA’s
Piction collection software, the museum can create new tours and
additionally moderate visitor tours.
Today: This modular popup displays CMA’s daily schedule of events
and exhibitions. The app ingests this content from the museum’s website
via a RESTful web service.
Favorites: Visitors can favorite their preferred artworks to share via
social media and can also create a personalized tour for other visitors to
take, which will appear in both the iPad and Collection Wall.
5. Technology integral to design process
Our guiding philosophy for Gallery One was based on collaboration,
teamwork, and an immersion in content to foster the best process of
realizing an ambitious project in record time. Our interactive design
firm, Local Projects, worked in deep collaboration with museum staff in
multiple, extended group brainstorms to translate creative content into
innovative visitor experiences. Many digital experiences were created
and workshopped, and then the best were chosen for final execution.
This helped offer flexibility to align the project budget and scope and
timeline into a final approach that was optimized for each part of the
team.

The team’s approach to the project, both in creative concept and

technology, was driven by new interpretive research, CMA technology
infrastructure, and by Local Projects’ extensive experience with
interactive content development. The design development evolved
during the wireframing phase. This approach was due primarily to the
aggressive schedule required to complete this work. During the
development of the wireframes, gaps in the current level of design
details naturally emerged, requiring additional brainstorming and
activity development. Once wireframes were complete, we moved into
prototyping. The team believed this project required an accurate proof of
concept of the interactive experience combined with hardware and
systems support. Local Projects, Zenith Systems (AV integrator), and
CMA’s IMTS team were able to deliver prototypes for the entire Gallery
One team to test and improve upon.

In order for the technology to be built in tandem with hardware and

while keeping the team in check regarding budget and technology
feasibility, CMA hired an AV integrator to be involved in all steps of the
process. In our research, we quickly understood that early coordination
of the AV hardware and computer systems was a key factor in keeping
the design on budget and schedule. Early participation of the AV
integrator in the design phase allowed work with the architects as well as
electrical and mechanical engineers to coordinate:

 Power requirements and locations and types of circuits

 Conduit specifications for AV systems. The AV conduit was
installed with the electrical to reduce costs and duplication
 Heat loads were calculated early in the project to size heating,
ventilation, and air conditioning for electronics that generate heat
 Coordination with the architect was critical to minimize the impact
on the space of devices that generate noise
  Early coordination located the floor penetrations and ceiling devices
to minimize impact on the space
 Early coordination on the mounting locations—especially for the
MicroTile wall—was critical because of the tolerances of the wall
being less than 1 millimeter of variation across the 40-foot-wide
section
Most importantly, the coordination early in the design phase eliminated
any change orders or changes to the space. As a result, infrastructure
was installed in the right locations and there was always understanding
of the technology that was going to be installed in the space. The
locations of power, data, and technology infrastructure were planned for
easy access for ongoing maintenance. This was essential for the
Collection Wall. We were able to make it architecturally elegant and
maintenance-friendly without compromising the design of the gallery.

We did benchmarking of other museums and exhibits that used

technology, and talked to the people who maintain the spaces on a day-
to-day basis to discover what worked well and what was problematic;
that knowledge made the design of Gallery One better. By participating
in the design phase for the physical space and art installations, we were
able to create the software specification with a full understanding of the
equipment that would be used and the technical support necessary. The
final result was a combination of hardware and software that work very
well together and are sustainable.

Modular design was important so that spare parts can be on site and all
exhibits can be repaired on site in less than an hour. The hardware was
also designed early on so that a software or hardware failure could be
mitigated by having the exhibit perform in a limited way. Even if the
actual interactive is not working, there can be engaging signage on the
screen rather than a dark monitor. Remote IP-based power switches are
also integrated into all of the devices to allow for remote reboot of any
exhibit to restore it in the event of a software problem that requires reset
of the touch interface or display.
CMA looked at a few different solutions for indoor wayfinding and
selected the Navizon system since it offered the greatest flexibility to be
retrofitted into an existing environment. The Navizon system uses a
series of small nodes that create a meshed environment that allows the
system to know where a visitor is located. Once the nodes were installed
and calibrated in the galleries, our application developer could tap into
the Navizon API so that its location data could be incorporated into the
iPad app. CMA deployed Navizon’s Indoor Triangulation System (ITS):
Over 100 Navizon ITS nodes were placed throughout the museum to
locate, in real time, the iPads as visitors carry them through the museum.
Even though the app is currently designed for iPad only, we chose this
ITS because it tracks active Wi-Fi devices including Android, iPad,
iPhone, laptops, and Wi-Fi tags with an accuracy of 2 or 3 meters,
pinpointing floor and room. Though no application is actually required
on the devices tracked by ITS, mobile apps like Artlens can leverage
Navizon’s API and be aware of the device’s position anywhere
throughout the monitored area. In addition, the ITS will enable CMA to
measure Gallery One’s success via indicators such as dwell time versus
time interacting with the iPad — i.e., we know how much time a visitor
spends in a gallery and when they are interacting with the iPad screen.
Figure 17. Exploring Dutch Painting on the collection wall. Photo courtesy of
Local Projects
Digitizing the collection
In 1996 the museum’s strategic plan outlined a commitment to
becoming a national leader in the use of new and emerging technologies.
A collections management database and digital scanners were
purchased. By 1998, CMA was able to submit 1000 digital images with
artwork metadata to the AMICO project. In 2003 CMA launched a
massive expansion and renovation project which became an even greater
force behind CMA’s image capture and inventory control. A dynamic
inventory management module within the catalog database became a
necessity, as the building project required the entire collection to be
moved several times. At the same time, the initiatives to create digital
assets for the collection for use in Collections Online received highest
priority, as the administration saw the website as a way to continue to
share the collection with visitors. As the collection was deinstalled and
moved to storage, photographers were able to efficiently schedule large
digital capture projects that would not be possible if the works were on
view. Three photographers divided up the photography by type so that
continuous steady progress is made across collections. CMA is well over
75% in its digital capture initiative and will have 100% digital capture
within the next several months.

Importance of managing data dynamically

The images and data used in the Collection Wall and ArtLens are
managed in a custom-built Piction CMS, built on Oracle 11g running on
a Windows 2008 server. Object-related metadata is refreshed weekly
from the museum’s collection management system in Piction DAM
installations that support Collections Online and ArtLens, to ensure
currency and synchronicity. Images for each object are transferred from
the museum’s primary Piction DAM and post-processed to provide the
1.2 million image derivatives used to display artworks. The “cascading
CMS” approach allows the Collection Wall and ArtLens to reflect
current gallery installations (e.g., the art shown “moves” as it is moved
within the museum, and “drops” when the object goes on tour/loan).
Additionally, the Piction CMS allows hands-on management of over 500
video assets, 200 interpretive text assets, and more than 30 predefined
tours, which can adjust over time to provide more and better
interpretation to visitors. The Piction CMS runs on redundant hardware
with solid-state drives to provide the best possible access performance
for on-site visitors; a synchronized Amazon-based CDN provides
images and videos for ArtLens users off site.
Figure 18: Data flow for Gallery One
How the Collection Wall came together
The technical requirement for perfect black levels and precise touch
interaction with multiple users was the starting place for research and
testing of existing and emerging technologies to actualize the desired
function of the Collection Wall. The displays were best solved by the
use of the MicroTile, an LED-based rear-projection cube intended to be
integrated as an architectural element. As a rear-projection emissive
device, it has perfect black levels for showing art. These black levels
could not be achieved with LED or LCD panels. The maintenance was
addressed, as the half-life of the light engine of the MicroTile is
65,000,000 hours, and the tile can be rebuilt from the front removable
screen.
Figure 19: Visual exploration of themes on the Collection Wall. Photo courtesy of
Local Projects
The next challenge was the interaction. Ultimately the best solution was
developed by a company called Baanto with a technology called
“Shadow Sense.” They were in discussion with Christie MicroTile to
make a version that would mount on the MicroTiles, and we started
testing this technology over a year ago. The relationship with the
manufactures provided us with development and prototype hardware to
use while we developed the Collection Wall, and they finished the
development of the touch hardware. When final development was
completed in December 2012, CMA had the first and largest installation
of this technology in the world. To complete the experience of the
Collections Wall; there was a requirement to make the wall experience
work with the iPad application that was also under development.
Various interactive technologies were considered and tested, and
ultimately RFID was chosen. The Collection Wall’s RFID server then
communicates with the museum’s content management system and iPad
application to create a dynamic and content rich experience for the
visitor to Gallery One. Visitors using personal iPads receive a Gallery
One sticker embedded with a unique RFID to attach to their devices.
This ID is configured on the first Collections Wall interaction and
automatically connects on all subsequent visits.
Making sure the content on the Collection Wall and the iPads is dynamic
and maintainable was especially important to CMA. All information is
pulled directly from our digital asset management systems. Therefore,
any new accession or an object that has gone off view is immediately
incorporated into the wall and iPad app. High-resolution digital cameras
that range from 48 to 192 megapixels were used to photograph CMA’s
objects. These provide us with museum catalog-quality photographs as
large as 50 by 40 inches, and will enlarge on a standard iPad or
computer monitor to 220 by 160 inches for examination of detail.

6. Conclusion: Next steps

The extended team is currently engaged in building a system of analytics
within each of the interactives, to report desired data on visitor use. In
addition, our audience research team is engaged in initial surveys of
visitor preferences and preparing for an immersive study this spring,
involving observations and intercept interviews with visitors. We are
also planning for the next phases of the iPad app, with plans to deliver
on new platforms, especially smart phones. We are particularly
interested in extending the opportunity for visitor involvement in
creating their own interpretation within the app. The Collection Wall
will be leveraged as an enticement for major exhibitions, and a tool for
gauging visitor interest in themes under development for permanent
collection installation, exhibitions, and educational program
development.
Figure 20: Gallery One’s Collection Wall. Photo courtesy of Local Projects
The groundbreaking program of interpretive technology that is now
infused into the very bones of the CMA is garnering worldwide
attention. We look forward to the opportunity to be in dialog with our
peers at the Museums and the Web conference in April to report on early
metrics and findings from audience research, to share our vision for
future steps, and most importantly to hear feedback from our colleagues
on Gallery One and the ArtLens app.

References
Adams, M., et al. (2009). Cleveland Museum of Art Permanent
Collection Reinstallation Formative Evaluation Study. Unpublished 75-
page report; PDF available through the Cleveland Museum of Art.

Falk, J. (2009). Identity and the museum visitor experience. Walnut

Creek, California: Left Coast Press.
Girardeau, C., C. Goeser, C. Olsen, N. Proctor, C. J. Reinier, & P.
Samis. (2012). “Can Mobile Interpretation Also Be Social?” Session at
the American Alliance of Museums Annual Conference, Minneapolis.
Recording and PDF available for purchase
at: http://www.prolibraries.com/aam/?select=session&sessionID=2269

Johnson, L., H. Witchey, R. Smith, A. Levine, & K.

Haywood. (2010). The 2010 Horizon Report: Museum Edition. Austin,
Texas: The New Media Consortium.
Pitman, B., & E. Hairy. (2011). Ignite the power of art: Advancing
visitor engagement in museums. Dallas: Dallas Museum of Art
Publications.
Rounds, J. (2006). “Doing identity work in museums.” Curator 49.2
(April), 133-50.
Schloder, J., M. Williams, & C. G. Mann. (1993). The visitor’s voice:
Visitor studies in the Renaissance-Baroque Galleries of the Cleveland
Museum of Art. Cleveland: Cleveland Museum of Art.

Cite as:
J. Alexander, J. Barton and C. Goeser, Transforming the Art Museum
Experience: Gallery One. In Museums and the Web 2013, N. Proctor &
R. Cherry (eds). Silver Spring, MD: Museums and the Web. Published
February 5, 2013. Consulted November 24, 2017 .
http://mw2013.museumsandtheweb.com/paper/transforming-the-art-
museum-experience-gallery-one-2/
 2 THOUGHTS ON “TRANSFORMING THE ART MUSEUM EXPERIENCE: GALLERY ONE”

1. Bonnie in Seattle on August 28, 2013 at 1:58 pm said:

What did it cost to create and install the interactives? We’re thinking of
doing something similar with a MUCH small visitor center.

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2. Linda Harrison on November 10, 2013 at 6:24 pm said:

WOW! I am so impressed by this approach to the visitors first entry into

the Cleveland Museum of Art. I have just accepted the Executive
Director position at the Museum of the African Diaspora ( MoAD). This
museum is a total of 20,000 square feet. Small, well, I like to think a
little jewel. This approach to engaging the visitor would be crazy
exciting for a tiny museum. I would like to find out more.

Great Job….Cheers,
Linda

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