Post-pandemic, museums and galleries are investing, with UK government support, to offer visitors novel and immersive experiences. Emerging AV technologies, including interactivity; holography; and Augmented Reality, are being embraced by museums and galleries, intent on providing visitors with more informed, enjoyable and meaningful experiences. In 2020, the government announced a £1.15 billion support pot for cultural organisations in England delivered through a mix of grants and loans. This was made up of £270 million of repayable finance and £880 million in grants. £120 million of the total is dedicated to capital expenditure
Following on from retail and sports venues, the last two years have seen museums and galleries re-open to the public. Many conservators and institutional managers in the sector are taking the opportunity to make significant changes to their venues to enhance the visitor experience. Many argue that offering something ‘new’ is essential institutional as venue managers have found that traditional visitors to museums and galleries (including older visitors, tourists and schools) have been among the slowest to return. “According to the Art Fund Report, 85% of museum directors are worried about their ability to attract audiences back. The Report anticipates less money available from philanthropy and sponsorship, and fewer bought-in exhibitions and blockbusters”. Instead, it is believed that there will be more shows based on existing collections and there are continuing concerns about costs associated with public health and challenges of managing social distancing. A Report by Oxford Economics (commissioned by UK Creative Industries) estimated that museums and galleries could lose £743 million (9%) in revenue and 5% of jobs (4,000) in the aftermath of the pandemic. In comparison, investment in AV technologies offers an enhanced visitor experience, increasing the ‘destination feel’ of a particular venue and offering a new perspective on an existing collection – even one that has been seen before. A new approach to a collection can even attract new audience categories, for example, the young…
New realities?
The technology with perhaps the greatest potential to enhance a museum or gallery show is Augmented Reality. Augmented Reality differs from Virtual Reality because, whereas VR is a completely immersive experience designed to take the user away from their present reality to somewhere completely different, AR enhances reality. AR can add new layers of meaning to what the user can already see and hear, thereby helping deliver one of the main goals of any museum’s output – as a form of continuing education. The extra layer that AR represents can provide an additional dimension with complementary or supplementary information, ideas, experiences and other interactive elements.
As an example, museums can use AR to help visitors see how a dinosaur skeleton might have looked like as a living animal’ through the lens of a smartphone. Or viewing a painting in person, but also being able to access a 3D visualisation of the artist to the visitor talking about the work As a further example, the Akron Art Museum offers a much-lauded example of how AR can be used by residents with access to the public art collection. The museum used AR for the launch of ‘Interplay: Art Play for All’ which saw the museum’s art gallery install a range of freely available art posters throughout the city, enabling members of the public to interact with each piece of art via a QR code. Once scanned into a tablet or smartphone, each poster opened up different ways of interacting with the art on display. For example, the poster by Akron artist, Adana Tillman, allows users to play with elements of the original design, transform the final artwork and allow the public to use their creativity and blend it with the artistic displays created by Tillman. “Interplay: Art Play for All has proved to be an engaging way to offer up a public platform to experience AR technology in the arts. It proved a welcome respite for culture-starved residents looking for ways to keep themselves entertained during the repeated lockdowns of 2020 and 2021. Moreover, the fusion of technology and art showcased how creativity can be incorporated into AR to create a two-way sharing of information and ingenuity.”
Elsewhere, the Norton Museum of Art has launched a new AR app to help open up its art collection to visitors. Known as Norton Art+, the app will be available to anyone wishing to explore the artwork of the museum using the AR format but will be delivered through tablets loaned to visitors as part of the entrance fee. Although not necessarily conceived as a way to create new virtual entry points into the collection of the Norton Museum of Art, for non-visitors, the app aims to enhance the visitor experience, focusing initially on a select number of artworks, including ‘Soundsuit’ by Nick Cave and ‘MOONRISE. East. April’ by Ugo Rondinone. It is hoped that Norton Art+ will help encourage greater engagement with contemporary art pieces and modern art in general – particularly among younger visitors. Transforming the gallery experience with AR technology, it has helped develop an interaction with the piece that is not always possible in traditional gallery settings.
Interactivity
Interactivity offers a level of engagement with museum and gallery exhibits unparalleled by traditional printed labels on walls. Sharp/NEC reports that high-performance PCAP touch sensors have been used to provide the highest level of touch accuracy, ensuring visitors to Ulster Museum enjoy the best possible interactive experience when using the NEC touch table. To reassure anxious museum and gallery staff, the damage-resistant surface of the display is easy to clean and extremely robust against heavy usage.
Displaying a vast array of art, historical artefacts and specimens from the natural world, the Ulster Museum in Belfast tells the human story of Northern Ireland. In the story to life, AV makes a significant contribution to the visitor experience as they take a journey through history. Sharp/NEC display technology is used throughout the venue as both passive and interactive large-format displays. Projection technology provides opportunities for closer engagement with the narrative. A recent addition is an intriguing interactive tabletop. Surrounded by display cabinets exhibiting historical objects and a timeline chronicling key events, in the centre of the room, the table invites visitors to discover more.
The museum’s AV systems are integrated by Fluid AV; managing director Stephen Mayne confidently chooses NEC branded displays for their robust reliability. “In a public space with high visitor footfall, robustness is vital. Our interactive tabletop installation for instance must stand up to the rigours of usage which might be beyond its intended remit such as children sitting on it – we’ve even seen it used as a nappy changing table!” The challenging environment proved too much for a previous similar tabletop installation using IR overlay technology. Installed face up, and side by side, the proximity of the displays caused interference with neighbouring displays resulting in a poor user experience. The surface of the IR touch displays was also not suitable to withstand the often-unusual usage. Fluid AV recommended the use of NEC PCAP touch displays to provide the appropriate level of reliable precision touch interaction and robust long-life performance.
The table integration configures six 55” NEC displays in a 3 x 2 arrangement, each presenting content in ultra-high definition with a smartphone-like interactive touch experience. Visitors can deep-dive into a myriad of information including videos to illustrate areas of interest. Accompanying the visual experience, each display has a corresponding audio feed from a Mystsytems PAN64 ceiling-mounted directional speaker ensuring only the individual viewing the display can hear the commentary. Each display is connected to its own PC located remotely using Extron HDMI and USB transmitters and receivers.
Using advanced 3MTM PCAP technology, the user enjoys exceptional touch performance without moiré or sparkles which can hamper other touch technologies. The scratch-resistant glass surface is entirely flush with no raised bezel for an easy-to-clean edge-to-edge solution without any compromise to image quality nor glare reflecting from room lighting. Delayed due to the Covid pandemic, the equipment was ready to be installed pre-pandemic. Now, as visitor attractions pull out all the stops to increase footfall, interactive exhibits are key to enticing visitors with engaging experiences. With the new NEC PCAP touch table, Ulster Museum can provide an exceptional visitor experience, encouraging repeat visits for many years to come.
Installations
AR has also found novel applications in the art world. Internationally renowned artist Sarah Montani, known for both her paintings and sculptures, joined forces with Swiss steel artist Andrea Stahl to create a groundbreaking art piece. They transformed a real metal sculpture of a woman’s torso into a weightless virtual twin sculpture using Augmented Reality (AR). The pioneering artwork represents the first of its kind in Europe, combining a physical steel sculpture with the immersive world of AR.The curator describes AR as the new reality that shapes our identities of tomorrow, echoing the words of philosopher David Chalmers. The sculpture can be experienced at The Line Contemporary Art Space in London, offering a fascinating encounter with new technologies through art. The sculpture will later travel to Central Park in New York and will be exhibited in MMOMA, the Metaverse Museum of Modern Art using 6 x NEC MultiSync V554Q PCAP touch displays.
Display quality
Last month saw the long-awaited re-opening of London’s National Portrait Gallery, following the most extensive redevelopment in the building’s history, which began in March 2020. The redevelopment project, named ‘Inspiring People’, was designed to break down barriers and make the attraction as welcoming as possible to all visitors. As Projection Partner to the National Portrait Gallery, Epson’s EB-PU2120W – the world’s smallest and lightest 20,000-lumen projector – is being used to help reinvigorate the visitor experience. AV consultants Sysco Productions has worked together with Epson and the National Portrait Gallery as a key collaborator during the design of the spaces to help maximise the experience through audio visual technology.
A 15m x 8m wall behind its new visitor information desk is now a central welcoming attraction at the National Portrait Gallery, where the collection art is brought to life with powered by Six Epson EB-PU2120W laser projectors complete with ELPLU04 short-throw lenses. The projection displays a carousel of digitised portraits from the Gallery’s Collection and can also be used to show special displays. The digitised portraits have been given subtle animation effects to make the most of the display technology. An additional EB-PU1007W is installed on the first floor providing a separate, interchangeable digital art installation, and a 16k-lumen EB-PU2216B with ELPLM10 mid-throw lens is installed in the Ondaatje Wing Theatre.
Katherine Biggs, Head of Digital at National Portrait Gallery, commented: “We wanted to use projection technology to give a snapshot of portraits from our collection and a taste of what’s in store for their visit. This is a really amazing way for us to provide a unique and impactful introduction to visitors and show that we are a forward-facing institution The hope is that in the future we can use this system to work with contemporary artists and partners to create media and new installations. In the beginning when we were exploring how we could use this wall, the main obstacles were the sheer amount of space that we wanted to use, along with the natural light projecting from the window above. We were fortunate with timing in that we were able to work with Epson and their new devices. Their previous generation of 20k-lumen projector were roughly double the size, so rigging those was going to be a lot harder, whereas the ones installed are smaller and white so blend in with the surroundings. It’s going to be amazing to see how visitors are interacting with changes that we’ve been so involved in for the last few years. For the projection, staff and contractors have been impressed by the displays as we’ve prepared for launch, so we know the public are really going to love it.”
Will Spence, Site Services Manager from Sysco Productions, took the lead on AV installations at the National Portrait Gallery. He added: “The brief was straightforward in that they wanted to fill the wall space with a feature piece that they could use every day or could be used for events and changing media. Early on we did a few tests with different projector brands, and we looked at LED at one point, but the power consumption on that was too high and with projection we could cover a wider space while consuming much less power. We’re using edge-blending on the projectors to achieve the image size. We can darken the edges. We haven’t had to use any physical masking; it’s done purely through the projector. We did a lot of the alignment in the projector because of the geometry correction in the Epson devices, which meant the gallery team didn’t need to be trained in and the video servers could be realigned using the remote control. We’ve used the Epson Projector Professional Tool (EPPT), which gives us control over all projectors in the building and this helps us with geometry correction and managing all the blends as well. The biggest challenge we faced was installing the projectors on the first floor, which because of the overhang was quite scary, but the Epson devices are very small, so this was perfectly manageable.”
Innovative projection
Elsewhere, advanced projection and audio technologies are being deployed in the museum and gallery space. By using projection mapping to display dynamic visuals on objects or architectural elements with, museums can transform static exhibits into interactive and visually engaging experiences. In place of individual personal headsets, museums can provide immersive audio experiences through directional speakers or audio beams, creating a more natural and engaging audio environment. To reach a wider audience, museums and galleries are integrating exhibits with online displays. For example, they may create virtual tours that allow remote visitors to explore exhibits virtually, access additional information, and view high-resolution images or 3D models of artifacts. Online platforms and websites also provide opportunities for interactive exhibits, virtual galleries, and live-streamed events.
Health and security
The lessons learned during the pandemic regarding crowd control and ticketing have proven valuable in the longer term for museums and galleries. Implementing timed-entry ticketing, online reservation systems, and capacity management solutions can help ensure a smoother visitor experience, maintain social distancing, and optimize crowd control even beyond the pandemic. Data analytics from AV technologies help museums and galleries gain insights into visitor preferences and behaviours. This information can be used to optimize exhibit layouts, improve visitor flow, tailor content offerings, and identify areas of high interest or low engagement. It enables museums to enhance the visitor experience and make informed decisions about future exhibit designs.
AI-powered technologies are being used to enhance the curation and interpretation of exhibits in museums and galleries. Natural language processing and machine learning algorithms can assist in automating the analysis of textual and contextual information, facilitating intelligent recommendations, and providing personalized experiences for visitors based on their interests and preferences. Emerging AV technologies such as holography and interactive virtual assistants are being explored in the context of museums.
Future trends
Looking ahead it is clear that AV technologies have a great deal to offer the museum and gallery sectors, both in terms of immersive enjoyment of exhibits by already committed visitors and in attracting new or underrepresented sectors of society. For example. AV can create inclusive and accessible experiences for visitors with disabilities. Captioning and sign language interpretation can be integrated into video displays, while tactile exhibits and audio descriptions can cater to visually impaired visitors. Additionally, assistive technologies like audio guides with adjustable settings and touch-sensitive interfaces can enhance accessibility for visitors with different needs.
Museums and galleries incorporate gamification elements and interactive storytelling using AV technologies to engage younger audiences. This can involve interactive touchscreens, interactive projections, motion-sensing games, and digital quizzes that encourage participation, exploration, and learning through play. Implementing interactive video walls or multi-touch displays in museum and gallery settings offers benefits such as increased visitor engagement, the ability to showcase a larger range of content, and the opportunity for collaborative experiences. However, challenges include maintenance, content creation, and ensuring intuitive user interfaces to avoid overwhelming or confusing visitors.
Displaying a vast array of art, historical artefacts and specimens from the natural world, Ulster Museum in Belfast tells the unique human story of Northern Ireland
Last month saw the long-awaited re-opening of London’s National Portrait Gallery, following the most extensive redevelopment in the building’s history, which began in March 2020
Van Gogh alive!
MediaCityUK played host to the Van Gogh Alive exhibition, ‘the world’s most visited immersive, multi-sensory experience’ that shows the life and work of the seminal Dutch artist. Following a smash hit run in Kensington Gardens as London’s must-see cultural event of the summer, visitors will be treated to a truly world-class cultural experience in the heart of Greater Manchester’s iconic cultural hub at MediaCity piazza.
Having welcomed over 8 million visitors in 70 cities around the world Van Gogh Alive, is the immersive Van Gogh experience created by Grande Experiences. Van Gogh Alive, which The Sunday Times has called “glorious, stunning, but also very moving”, allowed visitors to experience the artist like never before. The blockbuster multi-sensory experience completely immersed visitors in the life and work of Vincent van Gogh, travelling through periods of his life that defined him as an artist. Experience over 3,000 images from the artist that are spectacularly presented with stunning detail, including iconic works like Starry Night, Sunflowers and lesser-known paintings that were inspired by his love of Japanese woodprints.
State-of-the-art SENSORY4 immersive gallery technology displayed Van Gogh’s work in a kaleidoscope of colour. Set to an evocative classical score that is delivered via a high-fidelity 3D sound system, this combination of sound, visuals and aromas of Provence will give visitors the sensation of walking right into his paintings as if they are living and breathing. Van Gogh Alive also featured an interpretive area where visitors could learn more about Van Gogh’s life and works as well as interactive art stations where they could create their own art with the help of expert video tutorials. Visitors could also create their own souvenirs within a life-sized walk-in representation of Van Gogh’s ‘Bedroom in Arles’ painting and the iconic ‘Sunflower selfie room’ – a 360° mirrored room complete with hundreds of sunflowers that has delighted Instagram feeds the world over. Bruce Peterson, owner of Grande Experiences, said: “After mesmerising a global audience of over 8 million people and selling-out cities all over the world, including Rome, Sydney and of course our most recent location at Kensington Gardens in London, we’re incredibly excited to be bringing Van Gogh Alive to MediaCityUK. This is an unforgettable cultural experience for all the family.”
