My slides are here; the podcast of the talk is here. If you have comments or ideas to build on this work, there are pages on the Museum Mobile wiki dedicated to the topic:

• On mobile experience design
• My manifesto for a new mobile information architecture
• And some ideas for a new information architecture

The International Spy Museum in Washington, DC now offers an amazing taste of what it’s like with a GPS-triggered game and tour of the city. Inspired by two real FBI cases – Operation Lemon-Aid, conducted in 1977, and KITTY HAWK in 1966 – Spy in the City is a 1.2 mile (1.5 hour), $16 experience using the BarZ Adventures GPS Ranger device. Code-named ‘Geo-Cobra’, the multimedia handheld uses Flash to simulate the experience of receiving text messages, audio, video, photographs and other breaking intelligence from headquarters as you track a foreign agent. You scan for fingerprints, descramble audio messages and decipher local monuments to identify your quarry.

It’s an ambitious application of the new technology, offering lots of important lessons for others interested in trying the treacherous world of location-based mobile, as well as exploring the value of gaming in education. For those less intrepid, this interview with the tour’s author, Amanda Ohlke, and the Museum’s Executive Director, Peter Earnest, also shares ideas on lower-tech mobile programs like scavenger hunts, and how they can be leveraged for team-building and other group experiences. After all, “it’s not about the technology” – though I do try to get some hints from Peter, a former spy with the CIA himself, as to what new mobile tricks we might inherit from the clandestine services in the next generation!

So don’t be surprised if this podcast self-destructs after you’ve heard it…

Beth has now joined MoMA in New York as the Director of Digital Learning. She, Steven and I are joined by Deborah Howes, head of educational media at the Metropolitan Museum of Art, and Titus Bicknell, technology analyst and former chief engineer for Antenna Audio. Over lunch on New Year’s day in 2009, we talk about why people don’t tend to prepare for their museum visit by downloading podcast tours and other materials – as they might for a run, a flight, or their daily commutes – and what museums can do about it in light of the ‘digital age divide’. We consider the other end of the visit lifecycle as well, in terms of how people can ‘bookmark’ and take information away from the museum for deeper study later – but will only want to do so if the content they encounter during their visit has ‘put them in the picture’ and engaged them. At the heart of the conversation is the question of conversation itself as a context for learning, and how its strategic use helps transform the museum from Acropolis into Agora: a platform where many voices can come together and even the amateur and the outsider are empowered to make discoveries, fall in love, and sing of their passions.

‘Random access’ to tour content, allowing visitors to chart their own route through the museum or gallery, became possible as digital audio technologies replaced cassette tapes. But even as digital audio players increased museums’ ability to offer a wide range of tours and languages on a single device, ‘information on demand’ audio design obviated certain kinds of theatrical and narrative engagement. With the visitor moving between two minute ‘stops’ in no predictable order, the tour could not develop a complex story over time, nor immerse the visitor in a continuous soundtrack to accompany the museum’s visuals. “There are always trade-offs as technology advances,” comments Torgersen. As new 21st century technologies continue to shape the nature of what you can do with content, “you have to decide what story you want to tell first, and then choose the best tools to tell it,” counsels Hardman.

From short-range radio systems and IR triggers to iPhones and GPS – with a short stop to hear how the first movie projector was put on tour – follow two of the pioneers of performative sound as they trace the development of their understanding that “all these technologies are tools; it’s the content that makes them valid.”