“It’s not a companion.” One story. Two exhibitions.

Online exhibitions are often “companion websites” to a museum exhibition. During the development of the US Holocaust Memorial Museum’s new special exhibition, Burma’s Path to Genocide, we created two experiences to meet the needs of audiences while adhering to the same guiding principles and content goals. This session will explore digital storytelling for web and physical spaces and share techniques for making decisions that are audience-centered and subject-centered. Track:Big Ideas


Unknown Speaker 01:44
Everybody Hello. I am gonna also join from another computer. Hi everyone. I'm Crystal, how are you doing today? Great. Thank you. I am your tech person for today. I believe your session starts right at 115. So I will be here the entire time. I will continue to monitor the weight room and I'll give you a little nudge right around like 113 114 letting you know that we're close to time and then you let everyone into the waiting room and then you're free to start.

Unknown Speaker 02:18
Okay. Are there going to be captions or live transcript for this

Unknown Speaker 02:22
there will be live transcription. Yes. Okay. Great. Thank you I'm just going to pause the recording for now that way this is in case there's any background noise that won't be in the actual recording.

Unknown Speaker 02:59
I just requested to join from another computer

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I see that here. Thank you Welcome. Okay, there's no feedback, right. Can I do a little test of my screen share pictures working like it's supposed

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to stop that because it's something else? Again okay, how is this looking for everybody? Looks good. Yeah. Good.

Unknown Speaker 04:51
Okay, so you know what I'm going to do sometimes we tend to have issues with Zoom. So this means I get dropped off. I'm going to make you co host. That way. If I get dropped off the session won't end. Okay, you don't need to do anything. I will still be here throughout and I'll monitor weight room. You don't have to worry about doing anything that's going to give you back that hosting, right.

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Okay, so it'll just be me. Can you as host Okay, yes. Fantastic.

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so are there there are still great boxes out there.

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that better that's better. Okay. Um, all right. I'm gonna do I'm gonna just to be safe. I'm going to go to our media and make sure that that's playing properly. I let it play out. Right now the player

Unknown Speaker 07:14
has five children Jamila, his oldest son is especially

Unknown Speaker 07:19
okay. That sound okay. Okay, I am thing. I think that's it, okay. Jamison, are you okay with the slides that we have now?

Unknown Speaker 07:42
Yeah. Okay. I look back through it. I'll make it work.

Unknown Speaker 07:46
Okay. I have my notes. So we're gonna wing it a little bit at the end. I know sort of a hard question to answer but I when we get to the thank you slide. I was going to stop sharing. But do you think we might want to keep the slides up? To go back to anything during the questions? Would be a good idea? So stay with a slide deck. Okay.

Unknown Speaker 08:21
Maybe you just go back and leave it on the slide 30 which is the kind of key points that we talked about throughout okay. And that's just okay, it's a good thing relative or if you want something visual, I guess.

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We'll move around. We'll see what people

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might use a big one, two. laptop with one slightly. Okay. Just the laptop or the desktop view and mobile device you

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Yep. Okay. All right. Well, people are showing up so this is happening.

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Keeps. Okay, I can take you off with CO hosts and I'll just make someone else co host that way the boxes. Will be why don't you make Alison cultuur?

Unknown Speaker 09:35
Yeah, and we're we'll just play it with the with the questions at the end and try to see what's coming in through chat and people will be right this is a meeting so people will be able to unmute themselves if they want to ask a question. I believe so. Yes. Okay, so we can

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we'll see how we want to handle that. Just depends on how MANY questions are in the chat. I'm going to want to rename myself to to put on us hmm. And she her I'm afraid to exit my oh but that's not

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Unknown Speaker 12:13
Thank you. So welcome. Okay, we have about three more minutes to start time. We'll give it about another two minutes and then we'll start letting everyone in.

Unknown Speaker 12:23
How MANY people are waiting so far? Everyone? We have five people in the waiting room. Okay. Yeah, people tend to come right on time.

Unknown Speaker 12:55
Very end, we'll can. When you end the meeting, it ends right. I just want to make sure there's a couple there's just a little bit of time I'd love to save the chat. Before we all close out, so

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yeah, I can stay on if you need me to wait another minute or two after if you'd like okay. Yeah, it would just end Yes. Okay. So yeah,

Unknown Speaker 13:19
I just want a second right at the end. Sure.

Unknown Speaker 13:24
Okay, thank you it's 114 I'm going to let everyone in from the waiting room and when I start the recording, I'm going to go off video, but I will be here and you guys can start whenever you're ready.

Unknown Speaker 14:01
Thank you Hi, everybody,

Unknown Speaker 14:48
thanks for still letting folks in so we'll get started in a minute. Okay, well yeah, I am going to go ahead and get started because we have a lot to cover and I want to make sure we have time for questions. I'm sure people will keep trickling in and that's totally fine and come and go as as you need to. So thank you all so much for being here. We really appreciate you joining us during this last week of the conference. This session is called it's not a companion one story two exhibitions. There are four of us here from the United States Holocaust Memorial Museum in Washington DC. And we will be talking about a project that we all worked on called firmus path to genocide, which includes a museum exhibition and an online exhibition. So I'm going to start us off with some introductions and let everybody introduce themselves. And then we'll launch straight into the session. So I am a Silvina Fernandez-Duque guy. I am a white woman with shoulder length, brown hair and glasses. And my role on this project was project manager slash product owner of the museum exhibition. So Jamison.

Unknown Speaker 16:51
I'm Jamison Harchar white man with short brown hair. I was one of the exhibit designers on this exhibition. We had two full time exhibit designers. I was one

Unknown Speaker 17:03
and Allison

Unknown Speaker 17:05
Hi, I'm Alison kitchens. I'm a white woman with long brown hair. I served as a product owner and web producer for the online exhibition on this project.

Unknown Speaker 17:15
And Han

Unknown Speaker 17:19
I am fine share. Revelation guy was black hair and glasses which is typical. My role was usually experienced designer for online exhibition.

Unknown Speaker 17:30
Thank you all. So we are going to show some images from the online exhibition and the museum exhibition. And if you want to check out the website right now or right after this, we're going to pop that URL in the chat. We we don't have installation images online. But there's a page where you can find a little bit about the find out about the museum exhibition and we will upload our slide deck later today to the scan platform. So very briefly, Burma's path to genocide, explores how the Rohingya went from citizens to outsiders, and became targets of a sustained campaign of genocide. The RO Hanga are a Muslim minority group in Burma. They have faced a long history of persecution and waves of mass killing at the hands of Burmese authorities. MANY of you may have heard about the Rohingya community. Their persecution gained global attention in 2017 during a violent attack by the Burmese military, which the museum and other groups called the genocide in August of 2017. The military attack the Rohingya community and murdered 1000s of people and forced over 700,000 to flee to neighboring Bangladesh where they are still living in refugee camps and their situation is quite dire. So project is a collaboration between the museums Levine Institute for Holocaust education, and the museum's Saks diamond Simon Scott Center for the Prevention of genocide. This was a collaboration between the experts and the content that is the story of the row Hanga and Burma and also the digital and exhibition teams. And we did this project mostly in house. The online exhibition was done all with in house staff and we had a few vendors working with us on the museum exhibition. This project includes an online exhibition, museum exhibition public programs and outreach. Among other efforts. We partnered with a guest curator His name is Greg Constantine. He's a documentary photographer who has been working with the Rohingya community since 2006. And he had MANY assets for us to work with a lot of his photography, personal testimonies and audio interviews, a couple of footage. He was connected to activists so we had access to footage that the broken guy took themselves. We had a lot of material to work with to tell the story and we wanted to try to do something new and different. For this project, we wanted to tell the story. From the Rohingya point of view and to elevate their voice. We wanted to move away from the curator or historian or omniscient authoritative voice and let the personal testimonies and stories of the individuals drive the narrative and describe the events that took place. And throughout this process, we consulted with the Rohingya community to ensure accuracy and sensitivity. We had the connections. So you all mute yourselves. I'm so sorry. We're getting a little bit of noise. Thank you. So throughout the process, we were consulting with the Bronco community to ensure accuracy and sensitivity. We also had connections to historians, leaders in the community activists and we consulted with them throughout the process, because this is not our area of expertise. Our area of expertise as the history of the Holocaust. And we wanted to make sure that we were telling the story in the right way. So we're going to share a few high level design challenges that we faced throughout the process of creating two experiences a digital online experience and a physical museum experience. And we'll share the results of the decisions that we made to show how we use the core story to create these two distinct experiences that met the specific needs of each audience. This was not a situation where we wrote the script and designed the museum exhibition first and then adapted it to the web. We created both experiences at the same time. And throughout the process. We were using iterative design principles and testing with our audiences as much as possible. So there's a lot that we could talk about, and we have limited time so I'm sure we are leaving out lots of information that you might want to hear. So please ask us questions. Post them in the chat. And we can take them at the end. So the first question we're going to address is, how did we make complex history accessible? And we'll look at the museum exhibition first and I will add that at the very beginning of the process, before we started any kind of design or writing, we did some front end evaluation, we wanted to understand what does our audience know about this topic? How can we meet them where they are? Is there a hook? So we talked to visitors on the floor of the museum and ask them some questions and the results from that evaluation informed the narrative for both experiences so we're gonna take a look at museum exhibition first, to see how we layered this to address this layered and complex story. So Jamison, do you want to share some of what this looks like?

Unknown Speaker 22:24
Yes, thanks. So as I said, this was an audience centered approach, the evaluation and research we did was critical performance on how to approach the complexity of the story and setting the project goals. You hear me refer to the galleries as room one, two and three, three separate but connected spaces. We've kind of format the layout to break up the complexity into those three chronological experiences. Which we're going to talk about. We knew right away, we wanted to allow that were Hinga themselves to tell this story and to tell it in their own voice. We knew we wanted to use some focus, audio and an audio guide to deliver that voice. And we want the visitor to create a personal connection with the narrative that they were hearing. We also knew that we knew to inform the visitor right away the country of Burma and the ringgit themselves was not a well known subject. So we wanted to get that who what and were very, very quickly we did that with an intro panel large map and then went directly into the why of in room one. So room one gives the visitor the historical context, and they've kind of sets the stage for that violence that you mentioned in August and 2013 that we explored in the rest of the exhibition. Or to make this complex history accessible. We knew we needed to provide multiple levels of engagement for the visitor. After a lot of testing integration, we set it on kind of a layered design approach to the content in Exhibit architecture. This gave us a lot of flexibility for how we could design layout and still use the large volume of visual resources provided by the curator. This intentional layering of complexity starts with the backdrops or background images. Every section utilizes a large backdrop or background image. We kind of thought of this as our visual canvas to paint on providing an overall context for the segment that the visitor could get really quickly without a lot of additional information. Then followed up with high level info just along the top banner and bottom banners, this display content headers and thematic info. And lastly, the detailed information or pillars, the audio points that I mentioned earlier and any video elements are layered in front of that that's kind of high level elements. So this approach gave us that multiple levels of engagement. We hope to attain and allowed us to build an experience that offers the visitor either a quick view only have a few minutes, they can get through quickly and see the top level headers and thematic bands or a deep dive with the audio and video again, depending on how much their time was or how much energy energy they had that day for the visitor experience. The main content was accessed through that audio device with plot bought a little more than narrative. And on that audio device is that first person narrative. Again, the supplemental of informational panels video on top of that, so the visitor with limited time the high level information is available quickly or later lift if they needed. We'll talk about the website.

Unknown Speaker 25:16
Thank you, Alison, you address the website. Sure.

Unknown Speaker 25:19
Um, so like Silvina and Jamison mentioned, we learned that museum audiences were unfamiliar with Burma and the Rohingya. We also know that most people visit our online exhibitions from their phones in 2021. nearly 60% of visitors use mobile devices or tablets. So we all know that online audiences have MANY other places they can turn to for information, and we felt it was important for us to make the content as easy to understand as possible from the start. So how did we do this? We had implemented a new content management system for online exhibitions in 2018 with responsive templates that allowed us to implement a mobile first design. We were able to create exhibition content considering how everything would fit scrolling on a cell phone. We also edited all exhibition texts to meet a ninth to 10th grade reading level. This is become standard at the museum for educational content for general audiences. To help with that we use the tool readable.com To grade its readability. We have a very comprehensive review process at the museum, especially on this exhibition. So reports from readable were a resource in that process to help advocate for more accessible language with the curator and stakeholders we also created short explanatory videos to cover some of the most complicated aspects of the history. These played both in the online and in museum exhibitions. This allowed us to show how the Rohingya were slowly excluded from Burmese society in a clear and concise way. That would have otherwise required us to translate and explain MANY dense government documents. So I think we're going to play a short clip from one of these videos now to give you an idea

Unknown Speaker 27:54
so the second question we're going to talk about is how we presented the personal stories, which are essential to the storytelling and both experiences. And again, we wanted to elevate the voices of the RO Hanga and tell the story through their personal test testimonies and we decided to use audio for the main exhibition narrative. But we had never done that before where we were putting the descriptive content in an audio experience and not on a text panel. So we needed to do a lot of prototyping and testing for this type of experience. And the style of the narrative storytelling was essential to the way we wanted to reach visitors and we worked really hard to develop and write the audio script and the sound design. We worked with the writer and a production company to create the audio clips, and I will play one for you in a few slides. But we also tested our prototypes with audiences to make sure that these clips were compelling and people wanted to listen and we could use original language testimony which was essential to the way we wanted to tell the story. So this image shows how the personal stories are presented. At the beginning of the exhibition, we introduce visitors to four Rohingya individuals from the same town, which was attacked in the violence of 23rd of August 2017. And you're able to follow their stories throughout the exhibition. Each portrait is paired with an audio clip and by telling the stories of a few individuals, we are able to give visitors a glimpse into a history that affected hundreds of 1000s of people. Their experiences are not monolithic, and we didn't want to generalize what the Rohingya experienced. We hope that by hearing a few stories visitors will understand that this happened on a much, much larger scale. We also wanted to bring out the humanity of these individuals and portray them as people who have identities outside of the violence that they experienced. We don't want our visitors to remember them only as victims. So I'm going to turn it over to Jamison. To talk a little bit more about the design.

Unknown Speaker 30:02
So as Silvina said, we wanted these individuals to kind of be your guide throughout the exhibition. And we started in this first room with their portraits presented a little bit oversized at about eye level. Our curator had a lot of volume of work to draw from and these kind of incredible portraits we thought were a great visual to start with. We realized merely that we want them to tell the story and tell it in their own voice. This audio device we use as a guide ID it's a simple point and listen. Point scan and listen device. And was really great to get the visitor quickly to the story and allow them to kind of use that same device and that same technique throughout the exhibition. So again, oversized color portraits with a contextual background at eye level and supplemented with the voice of the person you're looking at in front of you the second room utilize a more immersive experience, which I'll talk about in a little bit. But we kind of replicated that first room experience with the portraits in the last room or we'll call it the wrap up section of this exhibition with moving portraits. Similar format but in a portrait mode, portrait orientation monitor with moving portraits, these don't have any sound on them, we did partner them with the voice of the person that you're watching on that screen. We felt like that kind of bookending approach to having a similar experience in room one and room three would give the visitor kind of familiar experience and reinforce that personal connection. We hope to leave them with as they left the exhibition which is again the voice of England. I think we have a clip of the audio sample.

Unknown Speaker 31:39
So I'm going to play this is the clip of Jamila story that visitors here in the first room of the exhibition

Unknown Speaker 31:56
of her five children Jamila his oldest son is especially good at getting her attention and with an unwillingness I want Jahangir wants to tell her all about what he's learning in school. For that the woman he was in the Angela. She says his concerns are just going to school and praying. At night. He reads stories aloud to her friend for knows I don't know the the proven formula says that she and her husband are worried because some Burmese soldiers have been harassing Rohingya children on their way to school. Eventually, the military closes the schools all together. Robbie nefazodone Maza got AMA on August 27 2017. Jamila says she is preparing breakfast when she hears gunshots that we hear the news that the military is coming. So we stay inside our homes. She says then the level Dora Melaka at the time Metadata and Jahangir is afraid the soldiers will take away his books. So we hide them right then in there. She gathers her children together and waits.

Unknown Speaker 33:02
Sorry to cut that off a little bit. Okay, Alison, I'm gonna turn it over to you to talk about the website.

Unknown Speaker 33:10
Sure, um, so we know from previous online exhibitions that our audiences engage with personal stories online as well. The stories from our Americans on the Holocaust exhibition were some of its most visited pages and shared widely on social media. So we knew that we wanted the working ghost stories to be the heart of this online exhibition as well, and we prioritize presenting their stories in a thoughtful and respectful way. We didn't include unnecessary scenes of violence and aim to make their voices the main focus. So how did we do that? On the museum's homepage for a start, the site has two main sections historical narrative and the personal stories. We organize the site so visitors can explore the exhibition both through the history and through those personal stories. We felt it was equally important for audiences to experience both. We also made sure that individual voices were present throughout the history as well. We did this with quotes and images are recurring in their own words section highlighted quotes from our Hinga alongside their portraits. When we tested the exhibition with audiences, this was one of the most mentioned aspects of the site. So as you can see, we did present these stories very differently online compared to in the museum. Hon. Do you want to share a little more on why?

Unknown Speaker 34:37
Yeah, sure. Thanks. So as you know, there are different user behaviors between online and New Museum experiences for online and other people access all content by using their mobile phones around the world. So thinking about different scenarios, maybe they're looking at your website on a bus, a train, maybe they're having lunch, checking for emails, news, etc. And they may not have a great internet connection speed. So we want to make sure our online content is accessible and inclusive for all the users around the world. The team decided not to implement the audio online after a few iterations with user testing. We tested the clickable prototypes which were no identity, no coding needed, not to be fancy. and can easily be thrown away and fixed. Sometimes we could also use paper prototypes, but the goal was to test your ideas as early as possible to collect feedback from your users. So from the research, we found a lot of people didn't have headphones by hand. So we didn't want to force them to find headphones. And the research also found that users failed sort of interruptions with audio clips online. It didn't mean that they couldn't use audio for any online experience. But just for our scale counting, it's easy for them to just see and read the clothes on their screens. So on the on screen, we have this is one of our six personal storage pages. Visually, we want to keep consistency with our New Museum exhibition using the same assets. We used oversized portraits, this layered background images and clothes, so people were slow to read the story. Because from the research, we found people scroll vertically today more than they used to. So sometimes you may have a lot of amazing ideas to create an online experience. So try to think about what your users really need by conducting user research and testing. So don't hesitate to test your ideas with real users online. Even you have only simple like awkward why friends, you could definitely learn something from your users on every iteration. So to register whether or that's the topic

Unknown Speaker 36:52
so the last question, we're going to address is how did we create an immersive experience? One of the goals of the project was to create immersive experiences and we had to define what that meant for both the museum experience and the online experience. And specifically one of our core objectives at the beginning of this project was to provide visitors with an immersive, deeply engaging visual experience and to one of the largest, most severe and ongoing atrocities in the world today. So we're going to talk first about immersiveness in the museum. Jameson.

Unknown Speaker 37:26
So our goal, so being said, isn't cheating this immersive environment and we hope to do that using the large volume of resources that were provided to us by our curator so for us it meant audio in the form of First Person narratives, video and variety of sizes and formats. And then lastly, the Environmental Design. Choices. Audio began with immersion, and the audio device. This device guy's a visitor through the historical context, the first person narrative and accounts it's a simple scan and listening guide can be picked up by the visitor at the beginning of the exhibition, we also gave the option to use your own device. Either way you're queued at individual key points throughout the exhibition to listen to these pieces of audio to give you a deeper understanding of the exhibition itself. A story the flexibility of this technique was the biggest draw it allows a visitor to pick up and choose how they want to experience the exhibition in the sound. They could take a deep dive which could take up to 3040 minutes or have a quick look and listen at select points they decided to their independent audio pieces that can be choosen in chosen in any order. You could skip around or even come back and repeat them if you need to. Second video, we use video in all three rooms in a variety of sizes and techniques. Room won or the introduction room was just that it was informational, small monitor segments similar to what and produce video pieces similar to what you saw earlier. They informed the visitor the context and the history that brought us up to this point. Short, distilled segments talking about history that brings you up to the 2017 attacks and violence that we've directed at the Ranga and also sets the stage for what's to come. We experienced in room two for good room to talk quickly about the room three video moving portraits again, I talked about this a little bit earlier, the silent movie portraits of the were Hanga they ran out about two minute loops and your final audio stop. At each portrait was the final audience. A really powerful experience for the visitor who couldn't again leave with the voices that were hanging in their head. Lastly, for us immersive and environmental, everything that visitor experiences from that point from the beginning to the end in audio video was supported by deliberate environmental and material choices. Or he did intend to avoid that bright, polished gallery aesthetic that we're all so often common seeing or used to seeing hoping to create a sense of place locate the visitor in an unfamiliar and even uncomfortable setting, while at the same time ensuring respectful use of the Ranga stories and images, other environmental cues to reinforce the feeling of immersion or finishes and colors patterns and textures and material choices. All that informed by the curators photography, I had a lot of documentation of the culture of the region and that was really helpful picking these these finishes large background images, open architecture, and hoping to create a sense of place for each room and provide a context for the geographical location and the subject within each segment. Open sight lines open architecture, natural substrates and finishes raw wood surfaces exposed and unfinished concrete. wall treatments, muted colors and fabric craft panels are all things to be used to create the sense of immersion. want to circle back quickly to room two because that really was the focus or a big focus for this immersive experience. We consider it the crescendo of the exhibition, and we thought it was immersive in the literal definition. At this point, the visitor has already learned how we got to this moment in 2017 They saw how we got to this point historically and what had happened. And now we wanted them to kind of feel a little bit of what the rahang experienced that day in 2017 with a large projected sweeping video. It's mirrored on both sides of the room. I would say it's a longer more experiential video production Vizard learns the specific violence and events of 2017 was triggered the most recent refugee crisis that we've probably all heard about, uses all original audio testimony in the Rohingyas language with translation displayed on screen. It also included some of the images you're seeing here, which is I witnessed content on site cellphone videos from that day, personal photos from the attacks, and it was also submitted by curate the curators work as well. Again, our goal is just give the visitor a window into that specific day and create a sense of empathy and personal connection between the visitor and the Ranga.

Unknown Speaker 42:01
Thank you, hon. You want to share how we did this on the website.

Unknown Speaker 42:06
So you just saw how this access word used to create immersive experience in museum. Again, think about the different user behaviors on AI. How did we visually express the scope of the loss, the trauma, the hopeless online, a lot of Rohingya people are still facing struggles today, and how can we let our online users understand it by just scrolling? So for the next field size, I will show you some quick examples of how we use those same access online to create a sense of immersion to engage to enhance user engagement and to combat a scope of loss of the Rohingya experienced on the screen. This is a design for the first kind of first screens of the chapters were because chapters and then in pages, so we use the fully full ways back black and white photographs, which were fully responsive across devices. We also use the the oversized titles and some of the strongest clothes that what we did for the personal stories. We should engage our users into this topic right away. So similar to the museum exhibition, we showed firsthand cell phone video footage, footage shot by Rohingya that recorded the violence and devastation next night. We also illustrated photos of the lost families by draining out the people with yellow nice, I don't know if you can see on the screen who were killed to express their families would never recover just like this photos.

Unknown Speaker 43:48
Next night.

Unknown Speaker 43:50
So we created a collage of cell phone photos showing the Rohingya people who were killed. They were business owners, teachers, students, fathers, mothers, daughters and sons. Just like you and me. We have our left ones photos on our phones, but for them, their relatives are no longer with them. Thank you, hon.

Unknown Speaker 44:18
So that is a very quick overview of the two experiences. I know that this presentation makes the process look very neat and tidy, but it was complex and sometimes messy and often stressful. We started this project in the spring of 2018. And we were still working on it when the pandemic hit and we all moved to remote work. We launched the online exhibition in May of 2020. At the museum exhibition was installed in the fall of 2020 and opened to the public in May of 2021 was opened back up. So we're just now starting to learn about the visitor experience at the museum. So that I will conclude there thank you very much and we will take your questions. I don't think I see anything in the chat yet. So take a minute and you can post them in the chat or if it's easier to unmute yourself and ask a question that is just fine too. Okay, I'm just going to read what just popped into the chat. I don't know if there's a question here, but I'm going to read it. What an incredible project I love that the US Holocaust museum had the courage to feature the genocide of another minority as a way to tell the story of oppression. When I left the audition in Jerusalem. I wish the museum would have opened the conversation to other genocides as a way to raise awareness that these horrific acts still happen today. You did that well done. Thank you very much, Eric. That's really great to hear. You know, our partnership with the Simon Scott Center for the Prevention of genocide is key to to getting these stories told they have their own constituencies of policymakers and lawmakers and other groups. So hopefully, there will be a lot more awareness about this. Going forward Okay, have a question. Did you build in audience testing into the schedule? Alison or Han? Do you want to talk about that?

Unknown Speaker 46:39
We did. Han Do you want to talk a little more? Yeah, about that. And maybe you can work in the next question how MANY people were involved? In the testing of web prototypes?

Unknown Speaker 46:49
Yeah, no problem. So yeah, we instead of we're using the iterative design process. So in the cycle we have like little called Agile and it's discover, understand it a prototype and the test is cycle on every sprint. So basically, we test iterations on every almost every sprint, and it's in the schedule. And for the last question, so how MANY people were involved in the testing of web prototypes? I will say like usually we test around eight to eight to 10 people with this clickable prototypes. But I would say like Eddie's to test these five people to kind of get a kind of accurate amount of feedbacks. And we used a tool called user interviews. Calm is a tool helping you to recruit participants online. So especially when the pandemic started, you can't do like in person user testings. So we use that tool for the user testings. It's a fancy tool, it can just save a lot of time off for you to cool and you can set up the testing via Zoom. It's I think it's straightforward. Um, yeah, um, so the next question.

Unknown Speaker 48:03
I can also address audience testing for the museum exhibition, which we also incorporated into our schedule. We knew that that there were moments along the way that we would definitely want to put things in front of people. And we, when we were, you know, working at the museum, and we were able to run onto the floor of the museum, it was great. We could set up a few prototypes in a gallery space. And then when we were working remotely, we actually were able to test the audio experience using Survey Monkey, which was a great app, that adaptation of the tool. And we got some really great feedback. And that was also nice, because we were able to test with an audience that was not sort of self selected to come to our museum. So it was folks around the country that actually had never visited the museum. So that was really, really great feedback for us as well. Can you detail the differences between online excuse me online and in gallery context, content? Experiences, were assets were used? Are the two experiences intended to be overtly complimentary. They want to

Unknown Speaker 49:21
I can take an initial stab at this. So um, for me, I think the biggest difference that we tried to get to in this presentation was that the museum experience was driven largely by the audio and online, it was not. And so all of the all of the text on the website, the vast majority of it, majority of it is text that it's not physically read in the museum. So our goal was really kind of the main difference was just tried to make the most of the platforms that they were in. There were some smaller differences. Like a couple one of the personal stories of a young woman didn't really work for the museum space because of the assets. That we had. But we were able to include that online. So we did kind of consider assets on a case by case basis where where they might fit online, but there wasn't really a mandate for us to make sure that everything that had been in one space was in the other. It really was what is the best for the space that somebody is in to experience this narrative?

Unknown Speaker 50:34
And I'll just add that, you know, there are lots of different types of museum visitors and some come and do a total deep dive and spend a lot of time and and some do not. And so we hope that you know, anybody who's, you know, moved to learn more will go to the website and be able to see a lot of the content presented there. So it's not exactly one to one. But they are definitely complementary. And hopefully people are, are doing both things as well. Although we know that it's very limited. The folks that can come to the museum right now.

Unknown Speaker 51:13
Nick can address the assets really quickly, which is we did draw from the same kind of pool of assets on an island communication frequently throughout the both exhibition development to make sure that some of the techniques we were using either one or the other applied to both experiences. So it's a assets reused. Yes, just the way we used them were very different.

Unknown Speaker 51:33
Thank you. I see a hand raised so I'm going to go I think Ellison set, right. Do you want to ask?

Unknown Speaker 51:40
Thanks so much. And hi, everyone. Um, thank you so much for this wonderful presentation. It's been really fascinating to listen to this and coming from another institution where we develop both on site and online exhibits to work in tandem. It's great to see that I know that other other sites are doing but it's great to hear about that kind of work being done elsewhere. So I'm wondering if your team can speak to and kind of have a sense of this, but I'm just curious to hear is this the way you work normally with your exhibitions? Is this the practice with most of your exhibitions? And if so, how do you sustain that? And if this is a new way of working, I know you mentioned you had a new CMS built in 2018. How's that going? Mostly because I'm sort of thinking about this. From, you know, internally, like how does it work? When is everyone working on the same projects at the same time, the same on site online project at the same time, or are there multiple things happening at the same time? But thank you, everyone.

Unknown Speaker 52:39
Thank you. Good question. I'll send you want to start a little bit with Yeah,

Unknown Speaker 52:43
I'll take a stab and then somebody else feel free to jump in. So we this is not the way we've always worked. Prior to our Americans in the Holocaust, online exhibition and special exhibition in the museum in 2018. We had always worked with an external contractor on our online exhibitions. So that that was actually the first online exhibition that we built in house when we implemented this content management system. And so we have a whole set of what we call legacy online exhibitions that vary widely in their format and set up because we worked with external contractors on those and generally the process was the in museum exhibition is developed, and then we would provide that information to these contractors to build an online experience. So the shift in 2018 came when we had this new content management system, and we didn't quite work in tandem with the in museum team. The Online team started a little later. And because of that, the team recommended that the next time we worked on an online exhibition that also had an in museum piece that the two teams work at the same time. It just seems like we're being a little inefficient on that project, having to have the in museum team go back and cover things that they had already worked out a long time ago. So for us, this was the first time that we were truly working on both of these together and at the same time with two separate teams but collaborating a lot. And I think I think I'll just speak for myself that I would recommend. This is the way we work moving forward. I think both experiences benefited from learning from and hearing from the other. And then the only thing I'll just add about, you know, capacity is it's not guaranteed that all of our exhibitions would have an online experience and vice versa. So I think in the future we may not always work in this way of doing an online experience for all of the museum exhibitions and similarly for online. But if if we are having both than I think we would recommend doing them jointly.

Unknown Speaker 55:10
I think you you cover most of most of it. Alison, I just want to add just in terms of process, we had two teams, we had two project managers and we have one set of stakeholders. So you know we tried to be as unified as possible while also just having each set of, you know, expertise, kind of run run with their own work. And we had the curator who was and we had several people who were kind of on both teams, where there was overlap. So it was it was a lot of work. We were kind of trying to figure it out as we went but I think overall, it really resulted in an a better experience for both for both

Unknown Speaker 55:54

Unknown Speaker 55:58
So I see a question about the current situation. So as you're dealing with a current event, I was wondering if you as a team institution had received any pushback around the stories exhibit on the current administration in Myanmar? I actually don't know the answer to this question. I think no, but I, I don't know. I don't know if they even know about this. We have presented the Center for the Prevention of genocide has done a couple of presentations to the NGO community, and I think to other communities in Burma but I'm not I'm not sure actually if if there's been any pushback. So I will ask that question. I go back. You have a question. How will you determine which exhibitions do have an online component? You know, we're we're kind of reevaluating and my colleagues should disagree with me if I get this wrong, how we how we're doing our physical exhibition. So I think there's, we're there's a lot of internal work that's happening right now. There's a revitalization of the permanent exhibition that's taking place. So we're thinking through a lot about how we work and about exhibitions in general. So I'm not sure I have the answer to that question either. If anybody has any other thoughts on that Okay, any other any other questions or any other final thoughts from the team? Okay, well, we can close out a couple minutes early. We will be at the recap session, I think at 315. And please feel free to reach out to us directly with any questions. Happy to talk more about this and stay connected. So thank you all enjoy the rest of the conference. Everybody okay. I saved the chat. Okay.

Unknown Speaker 58:31
You're all set.

Unknown Speaker 58:32
We're good. Thank you so much for your help.

Unknown Speaker 58:35
You're very really well. You're welcome. Enjoy the rest of your day. All right. Bye. Bye, everybody.

Unknown Speaker 58:40
Thank you.

Unknown Speaker 58:42