 Tena koutou. Ki ora tātou. Welcome to everyone attending this session. Thank you very much, Kelly from Auckland Museum. And to my friends presenting with me today, nā mihi nui e hoa. Ko Amos Mann ahoa, digital producer at Te Papa Tongo Rewa. We're here to present a brief glimpse on each of our different perspectives on the creation of digital labels for detail nature. It was a very large and complex production. There are nine digital label kiosks in the exhibition covering over 200 specimens and the labels are rich with media and with storytelling. The exhibition is expected to be open for more than 10 years, which adds another layer of complexity to how we might approach digital labels. We opened in May this year, we began planning for the digital labels in 2017. We planned for big concentrations of specimens in the exhibition and our strategy was to use digital labels to interpret these mass displays. This would help us avoid cluttering the walls with hundreds of print labels and help us provide a media-rich interactive experience, a choice-based experience for our visitors. There's some of the work there. The priority audiences for digital labels was a subset of Te Papa's range of visitors. You may have heard Frith speak more on this in detail, which is great. We were focused on really on adults and teens who wanted to learn more with the digital labels that was our focus. The primary goal for Tataio digital labels was to answer the visitor question, what is that and why is it on display? We were starting with a strong history of digital label production at Te Papa and we'd already invested in the development of the digital experience delivery system named Te Papa Hiko, which enables and supports production of touch-screen interactives within the gallery, including a wonderful interactive map that you will see in another exhibition, Tamatea in Toi Art, more recently. Because of the scale and complexity of this project, we undertook a lot of careful planning, prototyping and testing. We worked towards a more standardised approach across all the labels. We developed tools and processes to help us work together better. We needed somebody to be our content manager and I'd like to make special note of the exceptional content management work of Jane Harris. Jane was not able to be with us today, but to give us an idea of the number of people involved and the centrality of her role as content manager, Jane put together this list showing all the people and teams that she collaborated with throughout the project. Now, let's proceed on our journey through different perspectives on digital label production and to help us find our way, we've drafted a rough map. In some ways, this journey can be seen to start with concept development, tied closely to object selection, curatorial direction and case layout design. These activities feed into agreement and design of the digital label content structures, which you can see just at the bottom there or in the middle there. Now, let's talk about the next step, UX design. Kia ora koutou, ko Mike Hyam Tokoengawa, ko te Kai Ho Hoa Aho. I'm Mike Hyam, I'm from a company called Octave and I'm the UX UI designer on this project. I formerly was actually the UX design lead here at Tapa, so I have some experience of digital labels beyond this. Also a huge shout out to my colleague Pat Horsley, who was the senior developer from Octave who built all of these labels. So I'm going to focus on one key aspect of the design and that is there is so much great content, too much great content to share. This is a video of a kiwi hatching. It's a lovely, deliciously short 30 second video of a kiwi hatching out of an egg. I showed my preschool daughters, they loved it, I loved it, everyone should see it. But there's so much of this content like that and so a key challenge for me as the UX designer, UX UI designer is how might we make it effortless for visitors to view lots of great content, educational, inspirational, informative content that they don't even know that they would enjoy, they don't even know that it exists, there's so much to share but they don't know what's there and it's our job to make it effortless for them to experience it. So we took some cues from social media and you might think, oh gross, social media, I know, bitnaf. But in a way social media is a way that we experience lots of content that we're not looking for, we're just trawling, we're window shopping for things that peak our interest and we've done an excellent job of creating interfaces that help share that kind of content. So we took some cues. So one thing that, one way we did that was prioritising scrolling over clicks and so this is an example of an article about the bottle nose dolphin skull and this is an exploded view where you can see that we've put all this content down the page and the key interaction is to scroll through it because scrolling is a continuation whereas clicking is a decision that people have to make is a decision and just let people scroll, it's far easier. An emphasis on visual content goes without saying. One thing we did is that we kept the sidebar always available so if other people are looking they can read the label whereas the image can slip underneath and images always take up that full kind of right-hand side otherwise. Autoplay video. Videos just start playing when you scroll past them, why not? Why ask people to play, we know they're great and if people want to tap them to stop them or scroll on, that's fine. And never-ending content. It's not exactly like social media but you'll never get to the bottom of Facebook or Twitter. Always more content is loaded. We took an approach like that by placing one next article at the bottom of every article there's a next link. Only one, not a multitude, just one choice to help people continue going through the label if they choose or they can go back home and make another selection. We had some questions about this though, there were some concerns. Will visitors find this hidden content underneath is scrolling on a touchscreen on a kiosk? Does that feel weird? Is this webby website approach a bit naff for a really elegant exhibition? So we had concerns. So what did we do? We did some user testing. I created some prototypes in Atomic that could scroll, could transition and whilst I rolled them out on the floor tested them with real people and it was all fine. And what we ended up with was what feels like a very fluid, very kind of smooth, a whole lot of content that people can move through really quickly that we think we're really proud of. And for which we won a bronze award at the best awards this year which we're really proud of. And one final screen is part of my job was creating a component suite that allowed the content creators enough control by controlling them so it still looked really consistent and the sort of content suite that plugs into the CMS. Now let's talk about spatial design. Just the next one. I'm Tato. I'm core Rosie Kwanaho. I'm one of the 3D exhibition designers here at Te Papa which means I'm responsible for the spatial layout and design of the exhibition which can be anything from general visitor flow right down to detailed object layout. In terms of digital labels that meant making sure that what we presented physically matched what would end up on screen and vice versa. We wanted to ensure a good relationship between the two so that visitors felt comfortable with the kiosks and making that connection between digital and physical object. Here are the 9 digital label kiosk locations. You'll see there's 2 kiosks for the endemic wall which was one of the larger more complex displays and we anticipated higher engagement there. I'll talk a bit more in detail about that one. There were groups within groups and hundreds of objects proposed for this particular display but we were only able to include 50 objects and the digital label for this one. The other ones contained all of them. We worked out object groupings and then we pinned an initial selection up onto the wall to see what we were talking about. There was such a range of specimens from large and obvious to ridiculously tiny. Some were models yet to be made that we didn't even have yet. We decided not to measure up each object individually so that we could see what we were doing today. What worked best for all of the teams was to create full-size mock-ups of the displays section by section and this is what that often looked like. Here's one of the groups showing how we use these mock-ups to share information across the teams. The team identified objects with the most significant stories to tell about the digital labels and we took these into consideration when designing these layouts. Not only were we looking at a visual balance overall but we were also thinking about where those story objects were located so that we didn't end up with them all huddled down in one corner. This shows where the marine inverted section as a physical mock-up and those pink dots show the story objects and this is where they ended up on the digital labels. The smaller objects were enlarged for clarity but were kept in roughly the same location to maintain their visual association to the display. This is the whole endemic wall as a digital label. The showcase itself was quite a complex installation. Here's the marine invertebrate section nearly complete and the whole wall and here it is now in the exhibition. You can see where the kiosk ended up for the endemic wall. Because the display is so huge we space the kiosk back away from the wall so the visitor could take in the whole display while using the digital label and there's also space for others to get right up to the display and view up close at the same time. One of the other reasons for doing digital labels was to let the objects be the heroes and reduce the visual clutter of having too many labels so there we have like a nice clean display and then you can go into further detail in the labels. And now I'll pass the baton on to imaging. Kia ora koutou. Ma kou makaloneela aho and I'm here representing the imaging team. Here's our little piece of the map there. You would have seen by Rosie's image there that in fact on the digital label there was only 50 specimens represented on the label we made a call right up front to actually image every single object that went on the floor because there were more digital offerings in the future as we say the exhibition is on for 10 years getting them off to photograph is difficult. So we photographed over 1,000 specimen and for the three of us involved it amounted to over a year's work. The first consideration was the scale, the various scale so here we have a moa, very large just fitted into the studio, finished product and this is our job by Martie, the photographer there and then the very small, so here's a setup for a very small object. It's a macro setup and there's a little aquarium at the bottom for we put fresh specimens in like this one so it's floating in ethanol and you can see the size of this. This is a glow worm head, this is actually on display but all we see is the nest itself so here you get a lot more intimate into it. The main use of our photography is to get a primary image so the primary image is meant to be a visual key as we discussed between the label and what's on display so we would photograph in the same orientation as the object would appear on the label. We started with birds but when we started the orientation hadn't been decided at that point but we needed to get underway because we knew we had a big job ahead of us so we photographed the birds in multiple rotations knowing that by the time the physical selection was made we would have the correct image. The second output is secondary images which feed the kitai and stories which you'll hear a bit later on. It's the next content, that's where we as photographers could get a bit more creative for the images we would do but we'd also support a certain story so sometimes there'd be details about a specimen that's what was being required to be photographed so it would support the stories being told such as the pinces here. Another imaging challenge for us was so the jars are actually shot in a multiple setup so the jars are lit separately from the specimen themselves because we want to show everything in the best light possible and we shoot everything in very high resolution so as Mike already attested to these zoom capabilities on the digital labels all our images are 5300 pixels wide that's the size down for the labels but it means we can zoom in and see qualities and images, pieces or see the specimens in this detail which is actually not physically possible on the floor so it's added content and another thing we did was 360 spins we did eight of these so we would photograph the specimen 72 times, deliver all these images to Mike and the software itself puts these to image this together. Now these spins are zoomable and interactive, so very cool. All up, as an imaging team we're really happy with digital labels, it's a great platform for us to display our photography so we want to see more of them. I'm now going to hand over to the writers. A tia te moka tarawata, mata o matihi ko are the encounters of people through digital platforms the star chart, the sexton two independent navigational systems technologies that guide the two cultures to our destination, Aotearoa, New Zealand. Tena koutou ko Rane Apirahama, to ko ingoa a mata o tini, ko Francis Samuel ko Victoria Cleo. We are here on behalf of the writing team. We manage 50-50 concise by cultural narratives that enhance and embody awareness experience. It's like the building of a digital whaka with physical limits while navigating through tight deadlines and unforeseen challenges and exciting exploration. We are stone masons of concept of words laying to world view foundations of equal value to advance the building of one house of inspiration that serves and embraces the wellbeing of nature and humanity. I now present to you Francis Samuel. Kia ora Rania. Our work as writers was to take a lot of complex information, decide on what stories to tell the visitor and then tell those in an engaging, accurate way. Digital gave us the opportunity to tell a range of stories for each specimen through different media. This is the display of whale and dolphin skulls with a taonga at the top which the digital labels brought to life. Here's the screen for the dusky dolphin. The visitor can scroll down for additional stories called kete. Where did the information for the stories come from? We worked with both Chippapa and external scientists and experts, media researchers and a Mātauronga Māori expert, Brad Hamme. Could we say everything we wanted? Sometimes a challenge. We had about 60 words and limited media for an optimal visitor experience. A couple of things to notice here are the tone of the writing. It's conversational everyday language with a bit of humour, but we didn't shy away from stories that were sad or unsettling. You'll also notice circles around selected words. Tap and you'll hear the words spoken and translated like so. One of Te Taiwa's aims was to encourage te reo learning. So every label is bilingual and as Rania said they're not a straight translation but they tell the story from a te Māori worldview. Thanks, I'll hand over to Victoria now to talk about the kete stories. The kete range from the whakapapa of species to behind the scenes meet the scientists stories. We decided on the best way to tell each kete story through video, audio, photos, gifts or even artworks. We wanted to engage visitors senses, sight, sound, touch. This first kete is about a dolphin who guided a kūpe. We knew that not all visitors would scroll through all the kete, so we had to apply a hierarchy. A key message in the whales and dolphins display case is the strong connection between Māori and whales and dolphins. So we wanted to put that message upfront in the kete. Not yet. As part of bringing this specimen to life, we absolutely had to have a heartwarming video of frolicking dusky dolphins. Next there's an audio clip. Dolphin sounds are well known and loved. This echolocation gift has less whale factor so it's a bit lower down but it's still an important part of the story and it's useful for education groups. This image connects with visitors who might have been well watching and also with the economic importance of tourism in Aotearoa. Finally there's a map not a crowd pleaser but very helpful if you want to go deeper. Tika koe. Kieke panuku, kieke tangaroa, haumie, huie. Thank you. Ladies and gentlemen, I'd like to give you back to Amos us, to Amos man. So now let's talk about content management and I'd like again to stress the importance of the work of Jane Harris and her management of digital label content. No matter how many tools and processes we would have put in place we wouldn't have been able to do it without her. You can see here these roles include ownership of the agreed content structure, ownership of the content production tracking tools, ownership of the CMS and input of content to the CMS management and tracking of the proofing process and inputting proofing changes back into the CMS. So a big thanks to Jane Harris. She makes us look good. Here's a snapshot of the Google sheet that Jane set up for us to use across a number of different teams. It was most useful in coordinating workflow towards the imaging of specimens as the specimens went through curatorial, collection managers, mountain makers and conservation before being ready for imaging. So all of those teams were editing cells within the Google sheet live hour to hour. And we were also setting up notification on specific cells so that when somebody changed the status of that cell an email would be sent directly to the imaging team. That's ready for imaging now. And so the sheet became useful beyond work that was specific for the digital labels that became this really high quality and up to date source of information for all of those teams. We adopted a headless CMS for the to tie our digital labels. The CMS is only loosely coupled to the digital label and to Papahiko application build process rather than driving the content in a more direct way as you might find when managing a website. On previous digital label projects we had to hard code content into the JSON files which would have been very difficult for to tie our due to the vast amounts of content. And now let's talk about the development and build processes. So hello, my name is Daniel Nash. I'm front-end developer on the creative development team here at Tapapah. Mostly working on digital labels. Usually that's a matter of taking the input and synthesising something 100% correct, reliable, functional and amazing on the first release. But does it matter if we don't have the content until Friday? So previously we'd worked on developing the deeds platform and the Papahiko framework which helped us deliver earlier products. So that was the component kit and a deployer coupled with a player for react-based interactives basically utilising web platforms and analytics installed locally onto the box. But Tapapah didn't have enough developers to work on the production pipeline and develop the labels for this exhibition I'm the developer. We started working on the pipelines and we outsourced the label design and development to the team at Octave. So I'd like to acknowledge a tremendous work for the talented developer Pat Horsley who took our limited Tapapahiko builder kit of mostly functional components examples, tools, scripts, code and style guides and after making it past an acceptance test and many hours of AMOS user testing delivered us version 1 of the labels and the templated system for building them. Now if you've used them I think you'll agree here that Mike helped us achieve some beautiful rich and seamless experiences. Another key tool we needed to identify and build was a layout updating tool for the labels homepage and here you can see me editing something in sketch at the top left and there's an interactive at the bottom right updating. With dozens of items being displayed or maybe rearranged and dynamically zoomed on their on-screen locations it was critical for matching the displays to give a highly usable and seamless user experience. Meanwhile here we had refined the DEED system it was used to package, deploy and monitor the ten label instances on the floor. Credit here needs to go to my team leader Ryan Espartal who with help from Springload and our award winning AV tech Andy Ellison made that process routine and it really needed to be because we had over 3000 builds in the month before we went live. For this exhibition, opening day was just the beginning of the life of the work. Pat had delivered us a system for getting the thing on the floor but we still were working on finalising the other 50% of the content and refining the build pipelines after that. For instance images photographed in glorious detail by Mike O'Neill were then chopped into tiny pieces, squished and jigsawed by our build process because that's how the browser needs them. We found that we still have work to do to control that process so that end-to-end images can be selected, put back together in the interactive and have their formats changed and the colour profiles preserved whilst managing processing tool dependencies, versioning and long-term archiving of the right derivatives. We can then repeat the process possibly years from now on probably obsolete software but we enjoy a challenge. I'll hand back to Amos to talk about audience engagement. Thanks so much, Dan. Right now visitors are engaging with the digital labels and understanding visitor engagement and audience impact is really important. It's important for reporting on value. How do we know that we are creating value for our visitors? It's important when considering improvements, including potential future expansion of the endemic digital label to include all 700 specimens in the cases and thanks to Mike for the foresight and insisting to photograph all 700 upfront, that should be easy. And then thirdly we need to understand audience impact and visitor engagement so we can do even better next time. Continuous improvement. We've just started research on engagement with Tataio digital labels but through observational research we can already see that the labels are engaging experiences. They are engaging experiences and we can also see that they are social experiences. But we are just beginning this observational research and more to come. We also have analytics coming live from the digital labels from the floor and when we combine this with the observational research we can gain much greater, more full understanding. And now for what you've all been waiting for who's winning! Endemic is getting the most hits on specimens but keep in mind there are two kiosks for endemic which probably has an influence on those numbers. If so then these numbers could speak to capacity limits for the kiosks during busy periods maybe. Also each kiosk has a different number of specimens to choose from. For example endemic has 50 while Wales has just 14 and Kiwi has only 9 factoring the number of choices could be an important approach to learn more about engagement and visitor preferences and choices and behaviour. Here's another view of top engagement with specimens across all the digital labels are mirroring Kelly's analysis. Interestingly the top 10 specimens on Wales are for Wales, Kiwi, Bugs and Moa kiosks which also happen to be the first four kiosks visitors encounter as they walk through the exhibition. Also mirroring Kelly's findings. So in conclusion more research needed. However although it's still very early we can start to form a hypothesis from some of our findings we might be starting to see three distinct groups of users. I just happen to have this open on my desk as one of our scientists walked by and they looked at me like oh if you squint you can see three groups. So maybe what we're seeing are deep divers who are engaging for between two and a half minutes and up to 12 minutes. We might be also seeing a group of browsers who are engaging for about one to two minutes. We can see also those who just want a quick answer to that question is that and why is it on display? Hopefully we have a few minutes for questions. Thank you very much. We are into lunch but anyone who wants to leave feel free but anyone who does have any questions please put a hand up or bring a roving mic. Hello everyone, excellent work. Given that you've got so much wonderful rich content and fabulous stories have you been tempted to put all of that content on the web? Yes. And have you done that? We put together a bit of a pitch for reusing another system that we built on the Deeds platform which is almost like Instagram scrolling and Instagram scrolling site as maybe what you might call it. We thought actually we could use this headless CMS and feed that and there we'd have in-gallery opportunity for people to browse on their own devices as well as anywhere. Within the exhibition structures sometimes that's a bit tricky to resource so we kind of kept that in mind. It's still there, we can do it. It's just about getting it into the business plan. I'll just add to that as strategic owner of the websites. Obviously the exhibition context is very different and just moving them and transferring them doesn't always work but what we are doing is the image is what we can push through to be now available on collections online where there are specimens and those sorts of things. We are also thinking about what context we can shift some of these key facts through onto the general web that don't rely on the rest of the exhibition experience so that we haven't only got the content on the floor. That's the business. Kia ora. Thank you for a really, really fascinating presentation. That was awesome. That was my first question so I get to go to my second question which is great. Particularly around the pipeline, the technical side and the production of the labels. What are the odds that's going to be open source or available for other people to kind of get involved with? Adrian, do you want to answer that? I mean it's something that we have explored and I think I haven't been involved in that discussion. There's lots of discussions. So a goal, one way we talked about it before is not necessarily open source but definitely wanting it to be reused by other people in the future. So it might be the open source internally is not something that we can immediately go to with such a complex piece of infrastructure but our goal is definitely to make it reusable. So we have, for example, we did share with Auckland Museum and we even paid for Springload to go and give some advice and things like that because we want it to be out there. So that's the way that the exhibition delivery had to be the priority. We may have some time now to start thinking about what the future looks like. Not only for the use of it in our new redeveloped galleries upon Level 4, which will be happening in the next few years but also how we can spread it out a bit further. Do you want to say anything? Same with Auckland Museum. However, the complexity with our development is that it's built into the kentiko content management system. So it's within that platform and open source platform. So all of the code that we develop is put into GitHub but it's not necessarily something that developers can actually continue to develop and enhance on. So we definitely need to look at that. And lastly, sort of keeping in mind some assembly required. This is actually a question for you, Kel, while you're there. I just noticed with your labels, the digital labels, while they had more content than just the printed labels, there wasn't particularly much more. Was that a conscious decision or just a lack of time and resources to write more content? That was all driven by the curatorial team and so obviously that's the challenge where you have this platform and the opportunity to put lots of content on but actually there's still that piece where visitors will only spend a short period of time and how much content do you provide without it being overwhelming. So it's still something that we need to develop and actually some of these labels don't have that extended object label and that was a bit of a contentious conge of conversation around different parts of the museum. So as a platform moving forward, that collaboration across teams is really, really important and it's awesome to see all of you guys here today really showing how that's worked at Te Papa and that has absolutely happened at Auckland Museum but I guess more behind the scenes. Thanks. Anyone else? I just wanted to add to that that takes effort getting that collaboration and so again a big hand to everybody for that, for all those teams coming into the equation with emptying their cup before coming into it and really putting ego aside and team prowess and all of that. Actually we can only do this through working together. Cool, so we'll wrap up. Thanks to both teams, both museums. One last.