 Okay. All right. Okay, yes, so obviously I'm here today, so from South Australia, Adelaide, to talk to you about a project we undertook last year in 2014, which was the development and implementation of an IBKNZ app at one of our museums, the South Australian Maritime Museum, which is down in Port Adelaide for anyone who knows South Australia. I'll look briefly at what we did and why and what we learnt through the process. And really I guess I'm going to use this as a bit of a vehicle to talk about digital transformation in our organisation as a whole. Okay, so who are we and what do we do and what can we learn from what's been happening at HistorySA? So here we go. HistorySA, we're a statutory authority. We report to the South Australian Government through the Minister for the Arts. We were established in 1981, so we're not all that old. And so some of you may know us as the History Trust of South Australia, if you know us at all. And sort of our brief or our mandate was, is, well, is to encourage research and public presentation of South Australian history. And we're also entrusted with the South Australia's material heritage. So we have a board of trustees and we run three museums, three history museums, obviously the South Australian Maritime Museum, the Migration Museum and the National Motor Museum. We're a small to medium-sized state-funded organisation, I guess you could say. And we have just under 50 professional staff across all three museums. And then maybe another 20 to 30 casual guide staff across the museums. But obviously, increasingly as you'll see through our digital projects and our community engagement projects, we have quite a team and quite a lot of projects at head office that we run as well as at the museums. We also run a community museums program where we register in a credit community and regional museums throughout the state and we administer to community museum and history fund grants for these museums. And as I said, we're increasingly, we're responsible for a number of established and popular community engagement programs and events, including an annual month-long history festival, which has its roots, is a grassroots community history festival, an annual state history conference, education programs and various other seminars and ad hoc events. So one of which was recently this Violet Versus project. It was a large-scale digital, that's what you get when you're using your iPad as your text. So just jump, sorry. But this was a large-scale light show which was projected. These are our head officers. It's an old, the Torrens parade ground. We did this with a company called Illuminat and Cindy Drennan, who has done some work as, oh, sorry, as part of the World War I centenary. She's done some work over in WA as well as elsewhere in the state. So this was all quite fun. So that's us, I suppose, a small to medium history organization, about 75 staff in total, and we're responsible for the running of the three museums and a series of community engagement and history programs. Okay, so I guess, where are we right now? And I guess, what are we doing and what do Ipicans have to do with this digital transformation that we've been undergoing? I guess it started maybe eight years ago, where we had an external web consultant that dragged us kicking and screaming through a major website redevelopment project. We're in the space of about three to four years. We went from being an organization that was severely technologically challenged, I mean, really severely. We had templated Excel time sheets that everyone would feel in wrong every week. So, you know, common story, right? Yeah, small organization, technologically challenged, and finding it hard to let go of its institutional authority. So that was us. So we went from that to an organization with a small digital team and managing and producing content for a suite of about eight Drupal sites and three wordpress sites and many, many social media channels across our four locations. So, okay. So it was at this point, I suppose, once we had this new web presence and once we had this, I guess, this social media presence and we were starting to communicate with our audiences in different ways and hopefully trying to be a bit more collaborative, that we realized we couldn't continue just with a web consultant that we had to internalize some of this work and the management of the sites and our digital strategy and road map. So my team was born. There's three of us. Now, I've put this up here just because we're a very, very small team. So we've developed this IBM ZAP and we're developing a lot of other things. So we work very, very closely together. So that's Oliver and I on the left at the museums and the web conference last week where we bumped into the emu collections management people. So we took a shot. So Oliver's our web developer and then Catherine Manning who is our content curator and sort of is tasked with, I guess, coordinating work across the three museums and across our curatorial staff. Yeah. So when we were formed, it was just me, a manager of digital programs or online programs and we quickly realized that we did need a web, well, I argued that we needed a web developer and we needed a curator. We needed a core team of people with some really good skills to be the digital lead on projects across all three museums. So that's what we've done. And we exist at the expense of others and our budget exists at the expense of others in the organization and obviously now rather than our web presence being an organizational wide sort of community effort and a collective struggle against our web consultant, we now have this had this manager head office who managed to convince our chief executive that we needed these other resources. So our birth was a difficult one, I suppose, is what I'm trying to say. But sorry, I should have just printed this out. But so we're small and we're trying to do a lot. But I think our size works in our favor and I think the iBeacons project is sort of a good example of this because we were able to be on the ground with our creative staff and because we're very small and we've got a small budget, we're agile and we try and be iterative in our approach and increasingly we're trying to be audience focused. So I guess this is what we're trying to do and so the iBeacons project was the first project where we try to work in this way. And I guess we look at it as phase two of our digital transformation. So yeah, we're trying to be collaborative. So my small team is trying to be collaborative across our three museums. We're trying to be agile and iterative in our development processes and like I said audience focused and raise the digital literacy of our staff, you know, all very common things these days. So we developed an iBeacons app, I guess the iBeacons technology became available early last year and we seized on it for a number of reasons. So we decided to scope a small project that could be completely produced in-house. So our web developer Oliver wrote a native iOS app that, a native iOS app, so entirely in-house and paired with estimate beacons. I'll talk through the detail of the app in a minute if you can't read that. And so basically it's nothing fancy. I'm not saying that we did anything really, really wonderful. It's more about the process for us I guess and what we've learnt from it. But it delivers content to people's phones based on their location in the gallery. It's a treasure hunt experience. Treasure hunts aren't, I'm not saying that they're a great way for people to engage with objects in our galleries as we found. It was just kids running around, not doing anything terribly meaningful. But we'll get, I guess I'm just trying to be really honest about what we learnt from this process. We just jumped in feet first thinking, wow, there's this great new technology and we were able to get our hands on it and we played and so we've learnt a lot from it. But we chose to develop for iOS because we're developing in-house and we wanted to keep things simple. Again, we chose the treasure hunt sort of gamification experience because the estimate community, so the beacons, they already offered a basic template essentially that we could take and modify and adapt. So it was very quick to develop for our web developer. Obviously we didn't want to spend 12 months and thousands of dollars scoping and prototyping and developing an app that may not work very well at all. Or that may be outdated by the time we deployed it in the gallery. So obviously this is not new. This idea of iterative development and rapid deployment, it's not new, it's being done everywhere. But the other thing we did was we looked at our existing digital audiences and our analytics told us that across all of our museums, our programs, our digital products, 80% of our mobile users were iOS. So it was really a no-brainer for us. We dedicated our resources to developing for iOS only in this instance. You know, if it had been really successful then we would have rolled it out to Android as well. But we're not, that might tell you something. So the app was developed to accompany a major exhibition at the South Australian Maritime Museum and it was developed, primarily it was a collaboration between our web developer and the curator who developed the exhibition at the Maritime Museum which opened last year. It placed, so I'll just run you through basically what it did, it basically placed a museum visitor on board a 19th century immigrant sailing ship from Britain to Australia, which obviously this 19th century was a large period of mass migration and the exhibition itself explored the changing role of the surgeon aboard from the 18th century's sort of poorly trained barber surgeons to the more qualified practitioners of the mid 19th century. So the exhibition examines the ways in which surgeons tried to alleviate pain under extreme conditions without access to antiseptics or anesthetics. So we had a bit of fun with the app, with the gruesome nature of people's ailments and the sound effects that may go with it. And so it was fun and it was immersive. I'm just, we're not convinced that the kids learned very much. So in the app, as I said, the visitor takes on a persona of a ship surgeon and I'm not sure if, I took a screenshot that's probably cut some stuff off, sorry, but you're presented basically after you go through your intro screens, you're presented with a list of sick passengers. And okay, so some of the things that we learned was don't let the exhibition designers dictate the fonts that are used in a digital product because it's very, very hard to read. And kids in particular had a lot of trouble reading this text. So they opted for the audio option every time. So there was an option to hear these words being spoken. They opted for that every time. Okay, so you choose your patient and you can read about them. So if we're going to, so this is say you've chosen to read about a particular patient so you get their symptoms. And then you've basically, you, yeah, you move around the exhibition space searching for the correct cure. So these are all objects within the exhibition space in the cases. This is, sorry, this is just a shot on the iPad. This is again, one of the patients. So you move around until your phone finds a beacon signal. And then what it will do is it will tell you what you found. So, you know, pretty simple, nothing pretty about the notifications. But it tells you, okay, you found lemons, would you like to use this remedy? And you can say yes or no. And so you go around and you treat all six patients in this manner. And at the end, you basically, you get a certificate that gives you, that says you're a qualified ship surgeon or that you basically flunked out and you shouldn't be responsible for looking after people. And these are just some of the sorts of objects and cures that you might be looking for up in the top, I think. So again, like I said, we had lots of fun because of the gruesome nature of it. But, you know, bone syringes and sores and even wriggling leeches were some of the cures. So, the app was primarily designed to encourage the museum visitors to interact with the physical space as the physical environment and the objects and stories in the exhibition. And like I said, we had some gruesome pictures and sound effects. And obviously, being a small team with a very small budget, I mean, we basically had no budget for this at all. I think in the end, I think it was maybe it cost $200 or $300 on top of staff time. So, you know, not a lot. We're just very lucky to have the expertise in-house. So, we weren't trying to be too ambitious. So, it was a simplistic treasure hunt style game. We used a lot of free images and audio tracks to flesh out the experience. And the exhibition curator, Lyndall Lawton, from the South Australian Maritime Museum, wrote all the app text and sourced most of the images for us. And I was our web developer, Oliver, designed and built the app using, so Estimate provides a SDK software development kit and some other support. So, it was very, well, it's relatively easy for him to produce the app for us. He also sourced and configured the beacons, and he submitted the app through the app store and just went through the process. So, how did it work? Obviously, I said gameplay based on location, proximity and the beacons. And there were six beacons installed throughout the exhibition to match the six patients aboard the ship. And they were hidden behind and underneath and on top of showcases, which proved to be a very fiddly process. Our curator didn't want the beacons visible because it upset the exhibition aesthetics. So, it was very hard to place them where they were still, like, where you could get good range with people's phones. It was fiddly. So, you do need to allow a bit of time for that. Or, you know, buy different beacons, perhaps. No, I wouldn't say that actually. Estimate beacons were quite good. But, I think a very good example of what not to do would be that our web developer left the curator to choose all of the story lines and objects for the app. So, he, and, you know, I was away at the time. So, unfortunately, I wasn't there to sort of manage it. But, not once did anyone check on the location of these objects in the exhibition space. They didn't liaise with the curator, the designer. So, what we found was that four of the six beacons were clustered in two showcases back to back. So, in terms of a user experience, it was terrible. Really, if I'm being honest. So, the beacon ranges needed to be set very, very low so that your phone only discovered the content as you're standing right in front of that particular showcase. Otherwise, you're getting, you know, unrelated stuff. So, you know, that didn't work so well. The collaboration sort of fell down there, I guess. There are many ways in which it has worked very well, though. In the area of the content production, I guess. The curator, so our curator and our web developer collaborated across our internal intranet. So, that's where the project was managed. That's where they uploaded all of their text, images, you know, screenshots of the app as it was in development, all of that. And so, all of the communication and the management of the project was done through the intranet. And so, these are some of the examples of where we got our audio. So, they managed all of this through the intranet too. They sourced things, they shared and they commented on what worked and what didn't. Okay. I'll just quickly skip ahead. So, that worked well. So, I guess, for this project, that the collaboration between our team, which was very new and sat ahead of us and was, I guess, we're in a bit of a precarious position. That the collaboration with the curator on the ground who was responsible for the content, who knew the content, who knew who to talk to to source particular stuff, that collaboration worked very, very well. And then, I guess, another collaboration. So, I guess, if we're looking at this in terms of establishing relationships with our staff and getting them working well with us, our education officer, we managed to get a lot of buy-in from her too. We spent some time developing a workshop of the app and with the education officer and then we trialled it for a day with school kids and with the education officer in the space. That's where we got most of our feedback, actually, was watching the kids and talking to the kids user. And that's really what told us that it needed some work, I guess, that that user experience hadn't been thought out so well. We'd applied this gamification model, which is all well and good, but what we hadn't really done was thought through the steps of how someone might behave in the exhibition space. Let's go back to that pretty one. But so, I guess, what was important is that it really opened up this dialogue with staff that we didn't have very good, not that we had bad relationships with, but that we didn't have established working relationships with. So, that was a real positive, but what did we learn? We learned a lot about where to place the beacons in the exhibition space, obviously. We learned that there's a vast difference in how seemingly similar mobile devices pick up beacon strengths. So, your iPads and your iPad minis were pretty good. I mean, an iPhone 6 was pretty good, but you wouldn't even think of going anywhere near the beacons with an iPhone 4, for instance. And many of our volunteers still have iPhone 4s, so they would go down to the museum and experience it and they couldn't pick up the signal. So, there is significantly from device. So, this whole notion of bring your own device didn't work for us. We needed to be able to control what kinds of devices people were accessing the content on. So, obviously, for our next project we're supplying iPad minis so that we know what version, so what device, what version, what iOS they've got, all of those things just to make sure that we know the content will be delivered to their phone. We learned that exhibition designers aren't always comfortable, at least the exhibition designers we work with are not comfortable in the digital space and they've had trouble delivering digital files of the types we need. So, the designers and curators needed to be flexible when it came to supplying the imagery and the fonts and the colors and the branding. So, what that's meant for us is that we've refined our processes and now we have a standard package that we ask or we request of designers for any project we're involved with. So, it's helped us refine our processes and helped us to know what to ask for ahead of time. We learned that most people don't want to download an app once they get to our museum. So, the app was downloaded, I think, 250 times, which really isn't a lot over a three month period and the feedback we got was that once they're down there, when we get a lot of tourists, who might, you know, we don't provide free Wi-Fi, so we get a lot of tourists who don't, you know, they can't download, you know, as well as many other reasons, but basically people didn't want to download the app once they were there. And we learned that the front of house staff can make or break a digital product in the museum. I mean, in terms of stakeholder engagement, we needed to invest time training our front of house staff in how to use and troubleshoot that product. That was really key and it's an area that we really fell down in, I think. And I think you'll get far more buying and support if you involve them in that process early on. So, obviously, we're doing all of these things now with new projects at the time. We learned the hard way. So, and finally, we learned that so there are other internal departments who were stakeholders. We really didn't consider like our marketing department, who we needed to champion the product and we needed them to promote it. But because we hadn't involved them earlier on, they found it very, very hard to conceptualize why the app was important. So it obviously didn't make it to their list of priorities. So, again, it wasn't marketed. It wasn't, you know, it took almost two months to get signage in the museum with details of the app. So there are a number of things that didn't work well. But what it did do was, in terms of the process, it really helped us establish a model for collaboration and communication across our three museums. So now we have a very definite defined way of working across the museums based on these projects. And that's also helped us establish really good working relationships. And obviously, we've refined our own project management processes and built in things like the digital design specs into projects and for social media and the like. And I guess, really, what it did do again was to sort of gain the trust of the curators. It helped demonstrate that this idea of rapid development and iterations, that we can push something out and then we can change it and we can keep developing it. Okay. And that one, two, two words, yeah. That they had a lot more trust in us and in that process. So I guess, really, it was positive. And we used the technology to sort of help bring our, raise that digital literacy and help, refine our processes around embedding digital in the museum. And it was just, it was a fun project. But yes, if you've got any questions about the technical aspects or anything else, we've learned a lot. Thanks. Thank you so much for that. I'm really honest. Yes. I'm sure there'll be lots of you who'd like to ask questions. We've got time for two or three questions, if they could. And Kristie, if you could repeat the question. So the question was, what would my top three tips be for bringing curators on board who may be fearful of technology? Yeah, it's a difficult one. I was talking to some people in the morning tea break about this. I guess that buy-in early on is really important. Giving them a sense that the project and the ideas have partly formed through their involvement, rather than just saying, yeah, here you go, we're building this, you need to help us. So I think that was probably the key thing. And just being on the ground with them, being there sometimes, holding their hands, sitting by the computer with them, showing them how to use the intranet or whatever it may be. They're probably the two key things. But yeah, I don't think we've really mastered it yet. We're getting there. So the question was, I did suggest that it wasn't a very good educational tool, and that the kids didn't engage so well or learn. The only way we really tested that was through working with our Education Officer based down there. So she devised a program throughout the day, and we worked with, I think, three school groups. So a small sample. And that was then through observation and then feedback with the students afterwards. So she's got a bit of a detailed report, and I can flick that onto you. But basically the end, the conclusion was that there was no clear pathway. There was no visual, I guess, visual indication of where the students may go. And so they were a bit lost. And then all of a sudden they found this cluster of content around these beacons. And they would just tap and try things and rush through, and then that was it. The content was fantastic. It's just, I think, our implementation could be refined.