A couple of things circulating at the moment that perhaps interrelate.
Ed Rodley’s suggestion that art museums are paying the price of being the new “temples in our secular society” is certainly worth considering. The current wave of agitation against the notion of ‘participation’ might just be coincidence but it might also be a timely call for museums to better articulate who they really are for (or want to be for). Art museums seem to have a tougher time of this – especially with the rapidly changing demographics of the USA.
Designer Khoi Vinh makes a good critique of the latest piece of Snowfall-style rich multimedia journalism from The Guardian.
Also, there’s the fact that both “NSA Files Decoded” and “Snowfall” so clearly take the form of what I like to call “The Editor’s Prerogative.” What is The Editor’s Prerogative? It’s when you take a piece of journalism and make it huge in scale and elaborate in delivery so that it is more in line with how important an editor thinks the story is than how new audiences actually want to consume it.
And Newsbound’s Josh Kalven comments,
This gets at a question that’s rarely talked about in journalism circles: “Did people read it?” We often talk about how many people arrived on the page and how many people shared it. But the industry doesn’t seem to care about “completion” as a metric.
My former teammate Renae Mason (About NSW, The 80s Are Back etc) recently built one of these Snowfall-style projects for Penguin before she moved to Triple J. I’m know she has a lot to say about the real cost and effort that goes into making these pieces.
(Digital teams in museums are already being badgered about “when is my exhibition mirosite/catalogue” going to look like that online, so we better figure this out soon. There’s a growing Google Doc of all these sorts of multimedia pieces if you haven’t seen many of them)
I wonder how much museums – participatory or not – really care about ‘completion’ as a metric in their exhibitions, publications or digital projects? Audience tracking studies have, for years, shown that visitors rarely take the ‘right path’ through an exhibit even when one is clearly articulated.