Ai Weiwi, "Remembering," installed at the Haus der Kunst, Munich, 2009.

Prominent Chinese artist Ai Weiwei was detained by police in Beijing’s airport on April 3^rd while attempting to board a flight to Hong Kong. He continues to be held in police custody, with little information released about the events surrounding his arrest. (Learn more about the accusations here.) A longtime human rights activist, Ai openly criticizes the Chinese government and risks his personal safety to expose governmental misconduct. Active since the late 70’s and early 80’s, he has become increasingly more outspoken throughout his 30-year artistic career, which has caused him to become the subject of sustained, intense scrutiny by the Chinese government.

Ai WeiWei is one of dozens of activists taken into custody by the Chinese government since February. Fearing an uprising akin to those in the Middle East and North Africa, the government began to preemptively take into custody the most prominent human rights activists in China.

To show support for Ai and hopefully hasten his release, a petition has been created by an international group of art museum directors. Sign the petition here. In London, Tate Modern is currently exhibiting a 2010 installation by the artist entitled Sunflower Seeds, and has become a location for outcry against his arrest.

Ai Weiwei’s activism is tied to his art. In 2008, an earthquake in Sichuan, China, caused poorly built schools to collapse, killing thousands of local school children.  When the government failed to publish the names or amount of deceased students, Ai and other activists began to investigate to uncover the truth—that Sichuan officials allowed for the construction of unsafe schools. Ai was beaten by the police in 2009 while preparing to testify in the trial of Tan Zuoren, a writer and activist who was also conducting research about the events in Sichuan. Despite this act of violence, Ai WeiWei continued to commemorate the students that died.  His installation tiled the façade of the museum with backpacks, which spelled out in Chinese characters “She lived happily for seven years in this world,” a statement by a mother of a victim in the Sichuan earthquake.

Planning the Future of Museum Mobile Experiences @ Tate

Many of you may know that the IMA has been really active in building mobile content for our main website, our special exhibitions, and 100 Acres.  One of the things I love about working at the IMA is that we always try to give a little love back to our museum buddies when we undertake new projects.  That’s why we’ve made all the software for these mobile experiences available for free to anyone who’d like to play around with them.

While I’m happy that many museums can pick these tools up and use them for their own content, it won’t be the right solution for everyone.  In fact, it only solves just part of the problem.

One of the things we talked a lot about this year at the conference was the need for a common standard for the mobile tours that so many museums are creating.  The danger with such a quickly changing technical playing field is that the choices we make today will certainly be different this time next year.  We risk losing the investment in content we are making today if we don’t anticipate and plan for the changes that we know are coming.

That’s why a group of us (museums, vendors, and other experts) met together after the conference was over to begin to plan and document a potential standard for the mobile content we’re creating.  We had some great conversation and have a good start on some common language that will be really useful as we move forward together.

To keep the fire burning a bit and to hopefully engage all of you – dear reader – in some useful conversation, I’ve put together what I think are:

5 Ingredients Required for a Successful Mobile Standard

1. Simplicity – Let’s face it, there are a lot of standards proposed in the world that are rarely used to solve real problems.  I’m a firm believer in fact that a standard is only “standard” in as much as people use it.  Keeping it simple is important to ensure that the standard can be easily understood in one sitting, can be easily implemented by museums and vendors, and can easily integrate with museums’ existing tools.
2. 80% Rule – Not that we’re underachievers, but shooting for a comprehensive standard is the quickest way to ensure failure.  With technology changing so quickly, seeking to cover only 80% of the most common types of content and tours might allow us to actually finish and put this standard to use (see rule #1)
3. Extensibility – If we are not going to shoot for 100% coverage in our standard, then it will be important that users have some easy way to add their own “secret sauce” to the mix without breaking the rules.  All the successful standards efforts I know of include some way to grow and adapt to changes. Think about the ways we’ve seen the HTML and CSS standards grow and change over time. As we get smarter and smarter about the ways we want to create mobile content, we’ll certainly need to adapt our initial version of a standard to be smarter too.
4. Smart People – Speaking of smart… team work and contributions from  really smart people will certainly be the make-or-break ingredient that determines whether we can succeed in creating this standard.  Would you please consider being involved with us? Don’t feel that you have to be a standards expert in order to contribute something valuable to the mix.  In fact, very few of us are standards experts, and we could really use your best ideas to make this thing work!  I’ll share some specific ways you can help at the end of this article.
5. Determination – Success in this area will require some real commitment on the part of museums and vendors to make it all work.  The standard will require some early adopters to take the plunge and use this standard in practice to sort out all the kinks.  The IMA is willing to do this, and I hope that a lot of you will be too. It may take us a little while to see the fruits of our labor, but it would seem silly to keep investing the amount of money and effort we are already pouring in without at least giving it our best attempt.

How can you get involved?

If you’re interested in learning more, you can track our progress on the Museum Mobile Wiki here: http://wiki.museummobile.info/standards.  You can also read the notes from our first meeting in London.  We’ll be updating and refining those notes as we go, so stay tuned for more information.  Please add comments or thoughts to those pages with any questions or ideas you might have.  You can also track the current version of the TourML XML Standard here: http://wiki.museummobile.info/museums-to-go/products-services/tourml.  Those schema documents will be changing soon to reflect the initial conversations from the London meeting.

Most of All

Come to the next edition of the Museum Mobile Summit to be held on October 27, 2010 in Austin, TX.  This meeting is free and we hope you will attend.  Please let me know if you plan to be there so we can have enough chairs!  The US version of this meeting will continue where the UK summit left off and will align nicely with the MCN Annual Conference that week as well!

Thanks! -Rob

To date we have created a number of sets, usually to document an event at the art museum, and some groups that support specific projects. Lately, though, whenever someone says, “I have this great project and want to share it…”, we respond with, “Flickr!” And while it is true that we will be creating a handful of new sets that feature some super-cool behind-the-scenes images, we also have some other stuff up our sleeves, too.

Recently we have started thinking more seriously about what Flickr can really do for us, or more accurately what it can do for you. We have evolved in our thinking about it primarily as a place to share memories of things past and are newly focused on making what we share more exciting and encouraging you to share your own stuff. How are we doing it?

First of all, we are creating more sets and groups and thinking about how we manage them, promote them and what role they play in our on-line exploits. The most recent example is coming to the To Live Forever site. We have created a set that plays a role on the site by adding visitor feedback that puts faces with ideas, and we are working on a collaborative group for the site, too (come back soon to hear more about that). We hope that individuals will engage with the TLF site through the Flickr components and find ways to make personal connections to the big idea of that exhibition.

We have created groups in the past, most recently the big push was the ‘My Fashion’ group we created to offer Project IMA designers a place to share their fashion with the world. While these images weren’t IMA produced, the goal of the group wasn’t really all that community driven…we had an objective and mediated the content through partnerships with contributors to offer IMA site visitors additional content. This project was good and useful for Project IMA, but it really didn’t express our desire to build online communities. So what’s the difference?

We have discovered that the difference is in the process. Sort of like the difference between good science and bad science. Allowing the experiment to reveal its own results versus having an objective to prove and building an experiment that will make it true. Even though we created ‘My Fashion,’ to support an IMA project, it has taken on a life of its own, with new members outside of the scope of our project contributing to a new identiy for that group. It is this evolution that I find most compelling.

While we have learned a lot seeing our own Flickr projects change and grow, we also keep an eye on what the museum community is up to. We were recently shamed and inspired by the Tate’s new Flickr project, Street and Studio. (Check it out and enter!) And we are always learning a thing or two from the Brooklyn Museum, that recently made its way onto The Commons. (Congrats!)

There are also some museums that we would love to see more active on Flickr, like the van Gogh Museum that has a mere 15 images. That number seems disproportionate for the insanely popular artist it represents. On the flip side, the Milwaukee Art Museum has a visually rich display of images with a contemporary feel. If you are a museum considering Flickr, check out all the names I am dropping and perhaps this article or this one will push you through any remaining doubt…

As for us, over the next couple of months you will start to see a couple of different things from IMA…you will still see sets, but more of them will have more heavy-hitting content that will give you a glimpse into the real work of an art museum. You will also see groups that ask you to contribute with renewed focus on what your ideas will combine to create. In my opinion we haven’t yet been very successful as Flickr scientists, but we are observing, learning and internalizing and we will get better. While our efforts have at times been a bit clumsy, they are sincere, so I hope you will visit us on Flickr and come along for the ride as we figure it all out.

Michael Kimmelman– Rocked my world in 2007! Last year I read his book The Accidental Masterpiece: On the Art of Life and Vice Versa and it changed the way I think about art, my job and my life. I’m also pretty sure he may have one of the coolest gigs in the world, as the chief art critic for the New York Times.

Tyler Green – First of all, he’s all MAN. I’m in awe of Tyler’s authoritative and often humorous blog postings for Artjournal’s Modern Art Notes (MAN). He keeps me in the know and constantly brightens my days with his prolific musings on the art world. I’m also completely in love with him because he just added the IMA to his blog roll.

Philippe de Montebello – Philippe is my original art crush. He’s been director of the Metropolitan Museum of Art since before I was born and I’ve always had a little thing for him. Not “little thing” actually…I’m talking Beatle’s Mania sort of “thing.” Honest to goodness, I might swoon if I ever meet him.

Kathy Halbreich – Not that there’s anything wrong with it, but I LOVE this woman. Actually, I don’t just LOVE Kathy Halbreich, I want to BE Kathy Halbreich. As former Director of the Walker Art Center, she was at the helm of one of the coolest arts organizations in the country. This woman is a visionary, a risk taker, and an enormous inspiration for me professionally.

Will Gompertz – This guy is as hip as they come. As Director of Tate Media at the Tate Museum in England, he has my ideal job. In addition to overseeing Tate’s Communications team and Tate’s magazine (TATE, ETC.), he also is the Director of Tate Online, a leader, if not the leader in Digital Media for museums. Check out those glasses. How could you not fall in love with this man?!