Posted: Thursday, December 24, 2015
One of the goals of the MediaLab is to explore the use of design and emerging technologies to improve the museum experience. Projection mapping, also known as spatial augmented reality, is a technology that can turn physical objects and buildings into a surface for projected light. This technique creates an enhanced experience for the audience by combining digital information with real objects. While the MediaLab was exploring how projection mapping could be used in the Museum, an opportunity arose to collaborate with the Department of Egyptian Art.
Posted: Thursday, November 5, 2015
Just as the buildings of The Metropolitan Museum of Art have been growing and changing since the Museum first opened, so too has the staff. Despite the inherent importance of the staff, the first several decades of Annual Reports frequently only listed senior staff and the trustees; the Board of Trustees simply recognized support staff as being "much appreciated" in early reports. However, in 1926, fifty-five years after the Museum's founding, the growing number of staff—specifically the support staff—was too large to ignore. That year's Annual Report offered the following comparative figures to help provide some perspective:
Posted: Thursday, October 29, 2015
The volume of digital activities generated at the Met is pretty impressive, reaching millions of users through multiple channels: videos, social media, website updates, email campaigns, blog posts, the app, audio guide, in-gallery interactives, and more. With so many activities, it's important to track the impact of each project in order to set priorities and allocate resources. This is where data can help, and one of the keys to establishing a data-driven culture within an organization is to report the results internally. My colleagues already send regular emails with metrics about their projects, but as the digital media analyst, my role is to go beyond individual reports and present a full picture of work carried out by the department. With that in mind, I've started working on a dashboard that will display all the data in a single place. This will help monitor trends and compare the results of each of the digital initiatives within a wider context. The main objective of having a dashboard is to communicate the impact of our digital initiatives and to be able to make decisions in an effective and rapid way.
Posted: Monday, October 26, 2015
The Met Chrome Extensions deliver an unexpected and intriguing experience each time a Google Chrome user opens a new tab by sharing a breathtaking image from the Met's Collection Online, fostering daily interaction and encouraging curiosity. Three distinct prototypes include the popular Meow Met, a peek into the extravagant lives of cats at the Met; The Met Magnified, which features extreme, abstracted close-ups of object details; and Micro Met, which explores ethereal perspectives of objects captured using a scanning electron microscope (SEM).
Posted: Thursday, October 22, 2015
Posted: Wednesday, October 14, 2015
Throughout my summer internship in social media as a part of the Met's MuSe Internship Program, I have been fascinated by the interaction between our everyday digital practices and the museum experience. In what ways can social media supplement the Met's physical setting and present the experience of its collection to a global audience? This question guided my journey into the Met's digital world, where I spent the summer experimenting with the inventive potential of technology and how it can recreate a museum visit online. Now a month past the end of my internship—still thinking of social media's unknowable possibilities and still challenged by 140-character limits—here are my reflections on the experience.
Posted: Friday, October 9, 2015
One of our newest team members is Digital Media Analyst Elena Villaespesa, who joined the Met earlier this year. In this recently created role, Elena will establish and oversee an analytics program to monitor and assess departmental channels, platforms, and programs. She'll also conduct user research and develop reports to understand the fluctuations in data and identify trends and opportunities to optimize the department's (and the Museum's) digital projects. Elena plans to write about her work for Digital Underground, and she agreed to answer a few questions by way of introduction.
Posted: Tuesday, September 8, 2015
In the majority of museums, visitors can only experience the artworks by viewing them. Most museums work to make sure that galleries have neutral smells and sounds so that the visitor can focus on the artworks, but those factors can alter the experience significantly. All of the senses—sight, sound, touch, smell, and hearing—are a part of the museum experience.
Posted: Monday, August 3, 2015
From 1916 to 1923, the southernmost end of the Museum was, simply put, an empty shell, "void of any walls except those which were necessary for the support of floors and the roof" (The Metropolitan Museum of Art Bulletin, Vol. 21, No. 4, Apr. 1926, 3). The completion of Wings J and K were long delayed due to insufficient city funding, followed by the onset of World War I and the economic depression of the postwar years. By 1923, funding was finally complete and the long-awaited plans of McKim, Mead and White, were actualized. Wing K opened on April 7, 1925.
Posted: Thursday, July 30, 2015
The Metropolitan Museum of Art has been a great space for me to work with things I'm passionate about while helping to create something innovative for the Museum. Don Undeen made me feel comfortable in my new environment, and I was able to meet and learn from the staff of many different departments. My goal was to translate Impressionist techniques into a live experience for visitors because it is an artistic style that has profoundly affected my work.