iOpener in Reading is holding sessions in Town Hall Square 14 and 21 March. Visit iopener.org.uk for more info.
iMuse is helping the Museum of Reading and the Ure Museum of Greek Archeology show how Reading got such fantastic Greek pots with another mini app based on the one we did for the Cultural Olympiad 2013.
Here’s a short video demo-ing the webapp iMuse created from material produced by participants in the Ure Move project, Ure Museum of Greek Archaeology, University of Reading, 2014.
Some pot photographs are (c) Reading Borough Council (Museum of Reading)
iOpener is taking part alongside our sister project, iMuse, in the 4-6 July 2014 OpenForArt pop-up artist exhibition and events.
We’ll be trialling making a trail around 5 iconic Reading landmarks using our mobile phones and tablets like iPads. Meet us in the Oracle, old Crabtree and Evelyn shop, HolyBrook entrance.
It is with great pleasure that the curators and student panel of the Ure Museum of Greek Archaeology invite you to attend the Grand Opening of Ure Move, an exciting project and exhibition we have developed with the charity Access-Ability Communication Technology (AACT) as part of Universities Week 2014.
We take this opportunity to celebrate the invaluable work of our University students and the pupils of 3 local schools (Addington School, Kendrick School and Maiden Erlegh School) who together created this original exhibition. The Grand Opening will include a private preview of the exhibition, which shows the Ure collection through new eyes. Guests will also have the opportunity to look around the collection, play with the interactive iPad application or have a go at making their own short stop motion animations. Activities should enthuse people of all ages and abilities.
Saturday 14th June starting at 4.30 pm.
Please RSVP at firstname.lastname@example.org.
David combines experience in IT project management with knowledge of the charitable sector. He is leading our 2014 project, iOpener.
Just come along during opening hours and ask to use an iPad – or you can go to the Library to see the material created by young people and use the iPad ‘wax tablet’- watch the animations and follow your guide, Sophie, Athena’s owl.
- What are we all here for anyway? – Part 2 What’s imuse trying to achieve? Part 1 is at http://www.aact.org.uk/imuse.php. Here’s some more thoughts. We picked up interesting ideas from Museum Computer Network conference, Atlanta, November 2011 especially from Nettrice’s workshop on Alternate Reality Games – ways of encouraging visitors and museum interaction. Some of those methods were used in the mini ARG ...
- Welcome to imuse imuse is a programme trying-out some low-cost ways that visitors can communicate with a museum and with each other using mobile phones and tablets like iPads. imuse is partnering with some medium-sized museums to see if the ideas work in practice.If they do we aim to help set up an advisory service so smaller museums can ...
- Seeking partners Are you a resource-challenged modest-sized museum? trying-out low cost ways of engaging visitors via smart phones and/or iPads etc? or thinking about it but worried by the potential financial implications? We are seeking small museums which would like to try some things out with us museums and groups that would like to explore setting-up a peer-support advisory service Is this a good ...
- RSA Fellowship Catalyst Grant The RSA has given a grant of £1,500 from its Catalyst Fund to Fellow Annette Haworth.Annette is imuse’s voluntary Project Manager.She will put £900 of her grant towards the cost of engaging a museum learning professional who will help create material especially for people with communication and learning disabilities.£500 of the grant will be used ...
- More experiences with touch screens and QR codes We’ve found that some people can have difficulty making touchscreens work. There can also be problems with lining-up the camera on a smartphone or iPad with a QRcode. A previous blog, http://imusenews.blogspot.co.uk/2012/02/initial-experiences-with-touch-screens.html, described these problems. We have a bit more experience, from both visitors and volunteers/staff at our iMuse partner museum and from more elderly and partially-sighted ...
- Initial experiences with touch screens & QR codes We’ve tried a very simple ‘game’ in which an object had an A4-sized label attached looking like this. The child is asked to find one of the labels in the museum, a volunteer scans the QR code with an iPad 2 and the child is asked to ‘touch’ whichever object they think they are looking ...
- iMuse where have we got to? At the start of 2012, we adopted some ‘principles’ – a rather grand name for a list of things we were trying to do and how. It’s somewhat past time to have look back to see where we are and whether we’ve stuck to these or think they should be altered. Here we go,original wording in ...
- Creating an audio stop on the Ure Museum Olympic Trail
- Copyright as an accessibility issue This is a tentative post because there are complex issues surrounding copyright which iMuse would not claim to have grasped fully. BUT, looking back on what we’ve done over the last few months, and are currently planning in the three museums/galleries we’re working with at the moment, it seems we are being driven at least partly ...
You can donate by texting: AACT00 to 70070
Amounts can be from £1 up to £10. Justgiving doesn’t take a fee for this thanks to Vodaphone sponsorship.
NB This is an example of the type of agreement we may require with a consultant. Individual circumstances and AACT’s requirements may alter the format in particular instances.
THIS AGREEMENT FOR CONSULTANCY SERVICES (“Agreement”) is made on DATE BETWEEN:
(1) Access-Ability Communications Technology Limited (also known as “AACT” or “AACT for Children” or “AACT4Children”) [Company Number 5538092 and Registered Charity No. 1113302] whose registered address is 3 Wesley Gate, Queen’s Road, Reading, RG1 4AP (hereafter referred to as ‘the Client’).
(2) name whose principal place of business is address (hereafter referred to as ‘the Consultant’).
WHEREBY IT IS AGREED as follows:
1.1 The Consultant purports to have the know-how, qualifications and necessary ability to undertake the work required to be carried out in the assignment specified in Schedule 1 below (the “Assignment”).
1.2 The Consultant warrants that it is not disbarred in any way from working on the Assignment.
1.3 Subject to Clauses 1.1 and 1.2 above, the Client hereby engages the Consultant, and the Consultant hereby accepts such engagement, to carry out the Assignment and perform all services required in order to carry out the Assignment and produce the deliverables required from the Assignment.
Notwithstanding the date hereof, the Consultant shall commence work on date and shall continue thereafter after the assignment is discharged or until date, whichever comes sooner.
3. DUTIES OF THE CONSULTANT
3.1 The Consultant shall, while this Agreement is in force or until the satisfactory completion of the Assignment, devote such of his time, attention and abilities to the Assignment as may be necessary for the satisfactory completion thereof as the same shall be determined by the Client and as set out in Schedule 1 below.
3.2 The Consultant agrees to advise and assist the Client as required in accordance with clause 3.1 above with respect to all aspects of the Assignment and in the performance of such duties the Consultant shall comply with all reasonable requests and directions of the Client or its customer or nominee including, but not limited to:
3.2.1 Complying with all local or internal policies and regulations operated by or affecting the Client or its customer or nominee as the case may be provided the Consultant has been appraised of them.
4.1 In consideration of the services rendered by the Consultant hereunder, the Client shall pay to the Consultant fees as set out in Schedule 2 and in accordance with the provisions of Clause 5 below. No fee is chargeable for absence due to illness, voluntary leave or statutory, public or local holidays.
4.2 The Consultant is responsible for accounting to the Inland Revenue and all other Authorities for all taxes, National Insurance contributions, other insurance, and any other liabilities, charges and dues for which the Consultant is liable.
Fees are payable within 30 days of receipt of correct and due invoices, which should be sent to:
Access-Ability Communications Technology
c/o Uttley Room BG05, Institute of Education, Bulmershe Court
University of Reading,
Berkshire RG6 1HY
The copyright in any report, documentation or information on whatever media, prepared by the Consultant pursuant to this Agreement shall be the property of the Client notwithstanding termination hereof unless otherwise expressly agreed in writing by the Client. Copyright for the Consultant’s standard templates, formats and presentation styles remains with the Consultant.
7. WARRANTIES AND REPRESENTATIONS
7.1 The Consultant warrants and represents that:
7.1.1 The Consultant has full capacity and authority and all necessary licences, permits and consents to enter into and to perform this Agreement and to provide the Assignment;
7.1.2 This Agreement is executed by a duly authorised representative of the Consultant;
7.1.3 The provision of the Assignment and the Client’s use thereof shall not, to the best of the Consultant’s knowledge and belief, infringe any Intellectual Property Rights of any third party;
7.1.4 The Assignment shall be supplied and rendered by appropriately experienced, qualified and trained personnel with all due skill, care and diligence and in a professional and workmanlike manner.
7.1.5 The Consultant shall discharge its obligations hereunder with all due skill, care and diligence including but not limited to good industry practice and in accordance with its own established internal procedures;
7.1.6 The Consultant shall in the performance of the Assignment and in all matters arising in the performance of this Agreement conform with all Acts of Parliament and with all orders, regulations and bye-laws made with statutory authority by Government Departments or by local or other authorities that shall be applicable to this Agreement and shall comply with any Codes of Practice to which the Client complies and which relate to the provision of the Assignment; provided that the Consultant has been appraised of them.
7.2 Except as expressly stated in this Agreement, all warranties and conditions, whether express or implied by statute, common law or otherwise (including but not limited to fitness for purpose) are hereby excluded to the extent permitted by law.
8. LIMITATION OF LIABILITY AND INSURANCE
8.1 Neither party excludes or limits liability to the other party for death or personal injury and the Consultant shall indemnify and keep the Client indemnified against death or personal injury to any persons or loss of or damage to any property which may arise out of any Default or any other act, default or negligence of the Consultant, their employees or agents and against all claims, demands, proceedings, damages, costs, charges and expenses whatsoever in respect thereof or in relation thereto.
8.2 Subject always to Clause 8.1, the liability of either party for Defaults shall be as set out in this Clause 8.2.
8.2.1 Without prejudice to the generality of Clause 8.1, in no event shall either party be liable to the other for:
126.96.36.199 Loss of profits, business, revenue, goodwill or anticipated savings; and/or
188.8.131.52 Indirect or consequential loss or damage.
8.2.2 The provisions of Clause 8.2 shall not be taken as limiting the right of the Client to claim from the Consultant in the event of Default for loss of data and notwithstanding Clause 8.2.2, where the Client terminates this Agreement pursuant to Clause 11, the Client shall be entitled to recover from the Consultant, in addition to any other damages it is entitled to recover, the cost of obtaining the reasonable and proper cost for specialist accountancy services from a third party.
8.3 The parties expressly agree that should any limitation or provision contained in this Clause 8 be held to be invalid under any applicable statute or rule of law it shall to that extent be deemed omitted but if any party thereby becomes liable for loss or damage which would otherwise have been excluded such liability shall be subject to the other limitations and provisions set out herein.
8.4 Without limiting the Consultant’s responsibilities under Clause 8.1 above, the Consultant shall insure with a reputable insurance company against loss of and damage to property and injury to persons (including death) arising out of or in consequence of its obligations under this Agreement where negligence is proven and against all actions, claims, demands, costs and expenses in respect thereof.
9. INTELLECTUAL PROPERTY RIGHTS INDEMNITY
9.1 The Consultant shall fully indemnify the Client against all claims, demands, actions, costs, expenses (including but not limited to full legal costs and disbursements on a solicitor and client basis), losses and damages suffered by the Client arising from or incurred by reason of any infringement or alleged infringement (including but not limited to the defence of such alleged infringement) in the United Kingdom of any Intellectual Property Right in connection with the Assignment.
The Consultant shall not, other than with the prior written consent of the Client, during or after the termination, determination or expiry of this Agreement disclose directly or indirectly to any person, firm, company or third party and shall only use for the purposes of this Agreement, any information relating to the Assignment, the Client, its business, trade secrets, customers, suppliers or any other information of whatever nature which the Client or its customer or nominee may deem to be confidential and which the Consultant has or shall hereafter become possessed of.
The foregoing provisions shall not prevent the disclosure or use by the Consultant of any information, which is or hereafter, through no fault of the Consultant, become public knowledge or to the extent permitted by law.
If the Consultant shall be guilty of any serious misconduct or any serious breach or non-observance of any of the conditions of this Agreement or shall neglect or fail or refuse to carry out the duties assigned to him hereunder, the Client shall be entitled to give notice to the Consultant to remedy the breach within seven days and if the Consultant fails to remedy then summarily to terminate his engagement hereunder without notice and without any payment in lieu of notice and without prejudice to any rights or claims the Client may have against the Consultant arising out of such default.
12.1 The Client may terminate this Agreement immediately by notice in writing if the Consultant shall:
12.1.1 suffer or threaten any form of insolvency administration; or
12.1.2 cease or threaten to cease to carry on business; or
12.1.3 be in breach of any of the terms of this Agreement which, in the case of a breach capable of remedy, is not remedied by the Consultant within seven days of receipt by the Consultant of notice from the Client specifying the breach and requiring its remedy; or
12.1.4 be guilty of any serious misconduct and/or any serious or persistent negligence in respect to its obligations under this Agreement.
12.2 Upon the termination of this Agreement or the Consultant’s engagement whichever shall be the earlier, the Consultant or his personal representative as the case may be, shall immediately deliver up to the Client all correspondence, reports, documents, specifications, papers, information (on whatever media) and property belonging to the Client which may be in his possession or under his control.
13. DATA PROTECTION
The Consultant shall at all times comply with the provisions of the Data Protection Act 1998.
14. WORKING WITH CHILDREN
The Consultant shall ensure that he complies with all legislation with regard to working with children, should that be necessary in order to discharge the duties of the Assignment.
The Consultant shall not transfer or assign the whole or any part of this Agreement without the prior written consent of the Client.
16. HEADINGS AND EXPRESSIONS
The headings contained herein are for convenience of reference only and shall not affect the construction hereof. The expressions “client” “consultant” “him” “its” or such other expressions as appear herein shall be deemed to include the masculine, feminine single or plural thereof where the context so admits.
In the event that any of the terms contained herein are determined by any competent authority to be invalid or unenforceable to any extent, such term shall to that extent be severed from the body of this Agreement which shall continue to be valid and enforceable to the fullest extent permitted by the Law.
This Agreement shall take effect in substitution for all previous agreements and arrangements whether written or oral or implied between the Client and the Consultant relating to the services of the Consultant and all such agreements and arrangements shall be deemed to have been terminated by mutual consent with effect from the date hereof.
19. STATUS OF CONSULTANT ON TERMINATION, DETERMINATION OR EXPIRY
As a consequence of the termination, determination or expiry of this Agreement by effluxion of time, the Consultant shall not be entitled to the payment of any compensation or otherwise upon the occurrence of the same.
The parties hereby agree that this Agreement and the provisions hereof shall be construed in accordance with the Laws of England and the parties hereby agree to submit to the exclusive jurisdiction of the High Court of England.
SIGNED for and on behalf of the CLIENT by )
SIGNED by the CONSULTANT )
SCHEDULE 1 – “The Assignment”
The Consultant shall:
List of work to be undertaken
SCHEDULE 2 – “The Fee”
The Consultant’s Fee shall be paid as follows:
Description of fee agreement
This version was agreed by the Board at its Winter 2010-11 meeting
The next review is due on or before Winter 2013-14
This document summarises the main duties and responsibilities of trustee-directors.
Trustee-directors serve on the Board of AACT and together form its governing body. Trustee-directors have, and must accept, ultimate and legal responsibility for directing the affairs of a charity, and ensuring that it is solvent, well-run, and meeting the needs for which it has been set up. As AACT is also a Company Limited by Guarantee, the trustee-directors also serve as directors of the Company and must also ensure that the charity pursues its objectives and purposes as set out in its Memorandum of Association.
3. The Board and attendance at meetings
The Board of trustee-directors takes decisions collectively and meets as often as it must to in order to carry out its responsibilities. Typically that is four times each year and trustee-directors are, save for exceptional circumstances, expected to attend. Unless otherwise authorised by the Board, three trustee-directors are required for the Board to be quorate and decisions to be made.
4. Appointment and term of office
Save for people who are ineligible, the Board considers nominations for trustee-directors, which must be received in writing. Trustee-directors are elected to the Board. In accordance with Articles 24 and 25(1), one third of Trustee-directors must resign each year at the annual general meeting. Directors shall retire by rotation based on those who have held office longest since their last appointment. Trustee-directors may stand for re-election.
5. Remuneration, expenses and donations
Trustee-directors will not be paid any remuneration unless explicitly authorised by the Board and in accordance with Section 5(5) of the Memorandum of Association.
- i. Ensure that the charity complies with charity law, and with the requirements of the Charity Commission as regulator; in particular ensure that the charity prepares reports on what it has achieved and Annual Returns and accounts as required by law.
- ii. Ensure that the charity does not breach any of the requirements or rules set out in its governing document and that it remains true to the charitable purpose and objects set out there.
- iii. Comply with the requirements of other legislation and other regulators (if any) which govern the activities of the charity.
- iv. Act with integrity, and avoid any personal conflicts of interest or misuse of charity funds or assets.
7. Duty of prudence
- i. Ensure that the charity is and will remain solvent.
- ii. Use charitable funds and assets reasonably, and only in furtherance of the charity’s objects.
- iii. Avoid undertaking activities that might place the charity’s endowment, funds, assets or reputation at undue risk.
- iv. Take special care when investing the funds of the charity, or borrowing funds for the charity to use.
8. Duty of care
- i. Use reasonable care and skill in their work as trustees, using their personal skills and experience as needed to ensure that the charity is well-run and efficient.
- ii. Consider getting external professional advice on all matters where there may be material risk to the charity, or where the trustees may be in breach of their duties.
9. Resignation and Removal of trustee-directors
Trustee-directors may resign at any time, provided that:
- i. notice is given to the Board in writing at least 90 days prior to the resignation taking effect;
- ii. at least two trustee-directors remain in office when the notice of resignation takes effect.
Trustee-directors will be removed from office if he or she:
- iii. ceases to be a director by virtue of any provision in the Companies Act or is prohibited by law from being a director;
- iv. is disqualified from being a trustee by virtue of section 72 of the Charities Act;
- v. ceases to be a member of the Charity;
- vi. becomes incapable by reason of mental disorder, illness or injury of managing his or her own affairs;
- vii. is not reelected as a trustee-director by the Board at an annual general meeting;
- is absent, without permission of the Board, for all meetings held within a period of six consecutive months and the trustee-directors resolve that his or her office be vacated.
 CC3 – The Essential Trustee: What you need to know – see http://www.charity-commission.gov.uk/Publications/cc3.aspx
 National Council for Voluntary Organisations; see http://www.ncvo-vol.org.uk/advice-support/trustee-governance/trustees/responsibilities-duties
 See also Paragraph 9viii.
 This is a requirement as set out in the Articles of Association, section 9(2).
 Trustee-directors must be over 18 years old and not having been disqualified as company directors, and/or been convicted of an offence involving dishonesty or deception. In some cases, people beneficiaries may also be ineligible.
 Articles of Association, Section 31(6)
This version agreed by the Board Spring 2010
Next review due 2013
AACT aims to provide a website that is accessible to everyone. We design the site with usability and accessibility in mind.
If you have any problems accessing any information on the site please contact us.
Adjusting text size
All font sizes are relative, with the exception of graphical text, and text size can be increased or decreased by following these steps:
- For Microsoft Internet Explorer, go to the ‘View’ menu, select ‘Text Size’ and then the option that suits you.
- For Mozilla Firefox, go to the ‘View’, select ‘Text Size’ and then either ‘Increase’ or ‘Decrease’ until the text is the size you require.
- For Apple Safari: Use the Safari > Preferences > Appearance options in the browser menu.
All images have descriptive alternative text, with the exception of images that are used for aesthetic reasons only. Those images have null ALT text.
Colours have been chosen to give good contrast and to aid accessibility by colour-blind users.
This website is built using code compliant with W3C standards for XHTML 1.0 Strict and Cascading Style Sheets. You can check each of our pages for conformance by clicking the W3C buttons at the bottom of the particular page. If you find we have made a mistake please let us know by contacting us.
[There is one exception to adherence to XHTML Strict standards – we use the target attribute to allow some external webpages to open in a new window. Practical trials showed that this seems to be the lesser of two evils in trying to create an environment which is not muddling for users.]
We use PDF format for some information on our site. You will need Adobe reader (or another PDF viewer) to view PDF documents. Download the more recent version of Adobe reader here.
Testing for compliance
Testing for compliance with WAIG standards is not an exact science and we do not currently have the confidence to declare conformance to a specific level. We do test our website for accessibility using various utilities (such as Wave3.0 and those indicating colour contrast) as listed by W3C. We try it out on as many browsers and platforms as seems practical. From time to time we ask users with various accessibility needs to try the site for us.
If you have any questions or comments, please contact us.
The following have useful advice and information about web accessibility.
- World Wide Web Consortium (W3C)
- W3C Web Accessibility Initiative (WAI)
- RNIB web access centre
- Disability Rights Commission
- BBC My Web My Way
Our thanks to the UK Government’s Companies House and Oxfam websites which inspired us to include this accessibility statement following their examples.
(merged with the previously published Policy which was agreed in Spring 2010)
Reviewed by the Board at its Summer 2011 meeting
Next review due Summer 2012
- The Board of Trustee Directors (the Board) will act as fundraising coordinator.
- Fundraising will be targeted to fulfill the mission of the charity, to add value to the work of disability professionals by providing help, particularly with outside funding bodies. Leveraging funding in the area of those with communication difficulties is our priority in developing potential projects and funding applications.
- There will be careful selection of potential funders to ensure AACT meets their requirements and charitable aims and bids will be individualized and targeted as appropriate.
- Any proposal to seek funds must be agreed by the Board in advance of any approach to potential funders.
- There will be active relationship building to enhance the benefit to both parties.
- Any project must provide a fundraising plan to be agreed by the Board.
- Any ongoing service must have a sustainable funding plan approved by the Board.
- The admin team is responsible for raising the funds required for basic inescapable costs and for fundraising costs.
- The Board will decide on a lead fundraiser for any project or service it wishes to take forward.
Much of the work of AACT is undertaken by volunteers, but we have in the past paid modest amounts to a professional fundraiser and may do so again if Trustees feel this is in the best interests of our beneficiaries.
We take notice of the guidelines put forward by the Institute of Fundraising (http://www.institute-of-fundraising.org.uk/bestpractice) and believe like them that fundraising activities should be undertaken with clarity and openness.
If you have suggestions for fundraising, or would like to comment on our fundraising in any way, please do get in touch.
Gift Aid declaration
To the charity Access-ability Communications Technology (AACT for Children)
Please treat the enclosed gift of £ as a Gift Aid donation.
You must pay an amount of Income Tax and/or Capital Gains Tax for each tax year (6 April one year to 5 April the next) that is at least equal to the amount of tax that the charity or Community Amateur Sports Club will reclaim on your gifts for that tax year.
Title Initial(s) Surname
Please notify the charity if you:
- Want to cancel this declaration.
- Change your name or home address.
- No longer pay sufficient tax on your income and/or capital gains.
Tax claimed by the charity
- The charity will reclaim 28p of tax on every £1 you gave up to 5 April 2008.
- The charity will reclaim 25p of tax on every £1 you give on or after 6 April 2008.
- The Government will pay to the charity an additional 3p on every £1 you give between 6 April 2008 and 5 April 2011. This transitional relief for the charity does not affect your personal tax position.
If you pay income tax at the higher rate, you must include all your Gift Aid donations on your Self Assessment tax return if you want to receive the additional tax relief due to you.
This version adopted by the Board Winter 2010-11
Next review due on or before Winter 2013-14
We aim to keep the information we hold relevant and fit for purpose.
In line with our purpose ‘to advance the education of the public’ as stated in our Memorandum of Association, we will publish suitably-reviewed information we have that is relevant to our mission where it is both practical and legal so to do.
We are also keen to ensure anyone with an interest in our mission can find out about our policies, ways of getting involved and what we are doing and will therefore publish relevant documentation.
To implement our policy we will
- Obey all laws concerning the dissemination of information, in particular the UK’s Data Protection Act
- State openly our attitude and practices as regards data related to a person
- Regularly review the information that we hold and/or publish to check its currency, accuracy and legality
- Publish information via our website or other electronic, publicly and widely accessible means
- Keep our information securely
- Treat sympathetically requests for information in other formats, subject to the practicality (including cost) of such provision
Policy on Equal Opportunities, Diversity and Harassment
Adopted by the Winter 2010-11 Board meeting
Next review due on or before: Winter 2011-12
In line with its status as a charity set up to help inclusion within society, AACT confirms its commitment to a comprehensive policy of Equal Opportunities in which individuals are selected, developed, appraised and otherwise treated on the basis of their relevant merits and abilities and are given Equal Opportunities within the Charity.
The object of this policy is to ensure that:
no applicant, volunteer, trustee, director, member, student intern, supplier, provider, contractor or user of facilities shall be discriminated against on account (for example) of his or her sex, sexual orientation, gender identification, marital status, Civil Partnership status, family responsibilities, race (including colour, nationality, ethnic or national origins and citizenship), religion or belief, political belief, membership (or non-membership) of a Trades Union, disability (including HIV status), age or socio-economic background.
AACT opposes any form of discrimination on these stated grounds unless it can be objectively justified as genuine, substantial, reasonable and within the law.
Evidence of discriminatory behaviour (including harassment) will be treated as a potential disciplinary matter and could result in cessation of the individual’s association with the Charity.
The effective implementation of this policy can only be achieved by all those associated with AACT acting appropriately. The implementation of this policy will be aided by publishing it and by drawing attention to it in other communications as relevant.
This template is based on the Volunteer Agreement proposed by Volunteer England as at July 2010. It may be worth checking there are no significant changes to this when drawing up a new agreement. It is very important to use wording which could not be interpreted as leading to a contract of employment. This includes: don’t use legalese; don’t imply any material reward to the volunteer (this includes not offering training unless it is directly needed by them in this volunteer role).
Volunteer Agreement for VOLUNTEER
This Volunteer Agreement describes the arrangement between Access-Ability Communications Technology (AACT) and you. We wish to assure you of our appreciation of your volunteering with us and will do the best we can to make your volunteer experience with us enjoyable and rewarding.
Your role as a volunteer is as a position. It starts on date. (It may be helpful to the volunteer to mention a possible end date if this is a fixed-term project role, but Volunteer England does not recommend stating fixed times, so consider this and possibly discuss with the volunteer to help them plan their time). Your main Contact will be name.
The volunteering role described here is designed to help AACT in its current situation as a small, largely voluntary organisation realise one of its immediate objectives. This objective is to …….
You can expect AACT to
1. Induction and training
- outline AACT’s mission and ways of working
- provide relevant documentation, ….
2. Supervision, support and flexibility
- organise meeting and working alongside main Contact to help….
- be flexible in agreeing when you and main Contact will work together. Possibly outline here any constraints or things we are aware of which we’ll take into account
- be clear about what tasks we’d like you to do
- make you aware of the insurance cover available while undertaking the voluntary role
- make you aware of relevant Health and Safety policies.
- pay, if you wish, your travel expenses to get from your home (state here where you understand this to be at the time) to us at the standard rail/bus fare rates if you provide us with suitable documentation including receipts showing the actual expense you incurred.
AACT expects you to
- help it fulfil its aims by acting as a volunteer
- perform your volunteering role to the best of your ability
- follow the relevant area Health and Safety policies while in AACT’s office and elsewhere on University of Reading property. Should it be necessary to undertake the role elsewhere, main Contact must make any relevant Health and Safety policies clear.
- maintain the confidential information of the organisation and of its clients (if there are special conditions, for example the volunteer will have access to sensitive personal date, then refer to the Information Policy to judge whether a confidentiality agreement may need to be signed)
- meet the time commitments and standards which have been mutually agreed to and to give reasonable notice so other arrangements can be made when this is not possible
- make yourself familiar with our Volunteer Policy (available on our website) and raise any issues you feel unsure about with main Contact.
This agreement is binding in honour only, is not intended to be a legally binding contract between us and may be cancelled at any time at the discretion of either party. Neither of us intends any employment relationship to be created either now or at any time in the future.
Schedule of work to be undertaken
The main objective is to (make this and any secondary objectives as clear as possible).
Your role is to
- list tasks as explicitly as possible, but leave room for them to alter as time goes on or the project progresses
Currently your normal place of volunteering is expected to be main place (if there is one). Outline possible variations to this.
Fancy a fantastic run with our small, friendly team through the best sites of London?
Can you raise £200?
Then the British 10K Run is for you!
- Free entry to the Run
or fill in the form below
We have stuff to help you raise the ££s
and use Twitter, Facebook to get your friends giving
Here’s some runners from Steve Simon who we worked with on one of our iMuse/Ure Museum projects to get you inspired!
You can now donate from your phone.
Text AACT00 to 70070
Amounts can be from £1 up to £10.
Justgiving doesn’t take a fee for this thanks to Vodaphone sponsorship.
Agreed by the Board Winter 2010-11. Next review due on or before: Winter 2013-14
AACT does not have its own employees. Rather, it is helped towards achieving its aims by people holding various other types of role. The aim of this short document is to list the Charity’s policies relating to: trustee-directors, volunteers, paid consultants, student interns, organizations.
The documents giving further information relating to each role are named here. They are published
through the Charity’s website. While the roles differ, all outputs must relate directly to AACT’s
mission and priorities. Anyone doing work for/on behalf of AACT should enter into an appropriate
agreement including to abide by any relevant AACT policies.
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Individual’s circumstances differ and there will be occasion when special contractual conditions will
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the payment terms must be clearly agreed and the agreement signed by a Trustee-Director on
behalf of AACT and by the Consultant before work commences.
An individual associated with AACT may be prepared to take on a student intern. The situation will
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prepared to spend the time on supervision, monitoring etc required is a matter for them but as in
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agreed by a Trustee-Director before commencement. Particular care will be exercised in making any agreement on accepting an intern to ensure all parties understand there is no payment associated with the role and to be clear that the student’s institution covers insurance issues
We understand that organizations providing goods or services may have their own form of contract
and we therefore do not have an AACT ‘standard’. Any contract must clearly state the goods or
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This is a tentative post because there are complex issues surrounding copyright which iMuse would not claim to have grasped fully.
BUT, looking back on what we’ve done over the last few months, and are currently planning in the three museums/galleries we’re working with at the moment, it seems we are being driven at least partly by copyright issues.
The primary iMuse ‘idea’ is that smaller museums might be able to help visitors engage more, and get better accessibility, by using their own mobile equipment – especially smartphones, and increasingly, tablets.
However, in each site so far we’ve encountered copyright problems that mean material can be used in-gallery but not outside. This means publishing openly via the web is ruled out, so the simplistic (sounding) ‘put your material on the web and show visitors how to access it on their phone’ or ‘don’t write (or pay for) posh native apps – do simple web apps with a bit of HTML5 etc’ becomes impossible if you want to use some in-house material. And this doesn’t just apply to images of objects, but in some cases to text. Even the text of in-gallery labels was so heavily copyrighted that in one museum iMuse was not allowed to demonstrate how an iPad could help by blowing the text up. In another, although the artist had been dead for 2.5 thousand years, visitors were not allowed to take photos of a loaned pot as ‘ownership’ rested elsewhere.
Thus copyright is working against accessibility.
What to do? Well, we need to think more than we already have on this issue and work on it right from the start in projects.
What has actually happened, rather subtly, is that iMuse is falling back more and more on the rather old-fashioned model of the museum providing the equipment for the visitor. There are some pluses to this approach of course. We have complete control over the interface, and while at this experimental stage, can afford to loan one or two high-resolution iPads to the museums.
However, this approach doesn’t scale or encompass the generality of devices that visitors will increasingly bring along. For example, we have implemented ‘mini apps’ using the Kiosk Pro app as the ‘host’ on iPads. This works pretty well, getting over other problems, particularly patchy or non-visitor centred wi-fi. BUT this app is iPad specific. We are subtly getting further sucked-into the Apple ecosystem by using other special features too – the Guided Access mode is one and using iBooks Author in a gallery which has existing Mac experience is another.
Have others already studied (and resolved…) ‘copyright as an accessibility issue?’. Copyright is not iMuse’s area of expertise – we need help!
- a resource-challenged modest-sized museum?
- trying-out low cost ways of engaging visitors via smart phones and/or iPads etc?
- or thinking about it but worried by the potential financial implications?
We are seeking
- small museums which would like to try some things out with us
- museums and groups that would like to explore setting-up a peer-support advisory service
- would you like to explore further?
- or is it already being done?
- contact Annette Haworth via admin (usual at sign) aact.org.uk
- or comment here.
(AACT is a tiny volunteer-run charity currently managing the iMuse Programme).
Three minute video from the AgeUK Berkshire Historical Walk in Reading along the Holybrook and River Kennet
- The aim is to have fun in the museum either doing our trail on an iPad (which can be carried, worn round the neck or wheeled round on a trolley) looking at videos and photos of a few of the objects in the museum and/or making your own museum trail.
- Participants can use either their own smartphones/tablets (like iPads) or use one of ours (or both!)
- We will show how to make a QR code (one of those square dotty barcodes) and scan it on a smartphone/iPad so it takes you to something interesting (like a video).
- Participants can chose one or more objects in the museum which they find interesting. They can take photos or videos of it and we’ll help them make a QR code for it, and a museum-type label with this on.
- This can be tied to the museum object and they can show people how to do their ‘trail’ if they like (or take more photos with it in place perhaps to show to the family later.)
- The aim is to have fun, do things at whatever speed the participant likes, rather than have a formal ‘learning experience’.
- We aim to just have a few participants on each afternoon, with free cake and tea/coffee/juice for them and their companion.
- Companions are welcome to join in, look round the museum or relax in one of its comfy chairs as they like. [we haven’t quite worked out how to show live Olympics at the same time, but am investigating!)
- Everything is in one area, with the studio just off the main museum gallery.
- There is flat access (including to a disabled toilet at the end of the gallery).
- Free parking.
- If participants would like to tell us of their special needs in advance we will do our best to accommodate them.
At Half-term, June 2012, we are just hanging around in the Museum of English Rural Life with iPads, Berkshire Farmer Books and the iMuse trolley. Visitors are trying bits of the trail, with labels fastened with soft tape to objects, QR codes and (a selected few) Widgit symbols, videos showing stuff working, extracts of the story being read, photos from the archives.
Children are borrowing the iPads to draw and take photos (and transform them optically). We’ve tweeted some as an easy way to save them. Interesting that we got a drawing of a ‘Tractor at Night’ – good to see an understanding of modern farming techniques in an 8 year old, though the ‘Farmer Pirates’ treasure map was an interesting mix of themes!
A family watched the video from the Amners Farm Lambing Sunday – though some turned away during the actual birth, one raised the subject of stillbirth which showed an encouraging understanding of the sometimes grim reality.
We also showed the Olympics Trail – the animations [story lines from two Reading schools as part of the Cultural Olympiad] went down very well, and did lead to discussion on javelin throwing and Greek boxing. Young children knew more about the street dancing moves than iMuse. Also brief iMuse visit to the Ure Museum of Greek Archaeology, Reading, revealed that the animator has now published the full thing which is great news. See Ure View Animating Ancient Greece on Youtube
MERL has a very relaxed area with toys, a rug to play on and comfortable seats. It’s a natural place to sit showing stuff on mobiles like the iPads with people dipping in to look at stuff or draw or talk. Not all museums have this though. iMuse will have to think about what/whether it could do in a more formal place.
Village Fete coming up 9 June. iMuse will report it here.
We are working on a 5-stop (one for each day of the Ancient Olympics) trail in the Ure Museum of Classical Archaeology. Each stop will have one object associated with a particular day.
Material has been gathered from the Open University’s excellent Openlearn Olympics information.
Some of the same problems as in the Berkshire Farmer trail have been encountered, plus the added wrinkle that Openlearn uses Flash for its animations so we are unable to show these on an iPad.
Our urge to try a more ‘industry standards’ compliant tablet is great, but we probably do not have the manpower to support another tablet, and the iPad accessibility options are otherwise good.
We have been able to use the animations from the Reading schools/animator/Ure cultural olympiad project in the iPad version being tried over half term in the Ure Museum. The animator and the Museum have granted permission to use elsewhere but we await permission from funders (?) as use on other mobile devices would require publishing.
Labels with QR codes and Widgit symbols are now tied to various objects in the Museum of English Rural Life with (soft) tape supplied by the Museum Conservator. We’ve started to let visitors try it for themselves on our iPad-on-a-trolley.
Video, especially of the thresher, was popular yesterday, as was breaking out to draw corn and ‘countryside’ on the iPad and take transformed photos.
Maybe the trail should take the visitor straight to a video clip before offering other options?
Some visitors who are not iPad-users find the concept of ‘tap’ [the buttons] don’t ‘push’ (as you would with an ordinary button) difficult. Not being able to play a video as soon as a QR code is scanned (for example) is nasty and seems to be an iPad ‘quirk’ which has no (believable-rational) explanation. The Kiosk Pro app has been useful to run demos of the trail where no wi-fi or wireless signal is available (especially good for Country Fayre in a marquee) but of course we need a signal when, say, a Youtube video forms part of the trail. If the iPad is online, the app is not ‘allowed’ (?) to use the camera.
Odd ‘features’ like this make it difficult to produce a really sound (ergonomically) ‘webapp’. It may just be impossible to have a perfect solution for loaned-out iPads. The situation is different with the users’ own devices of course – they will know how to tap/scroll etc and the museum will not have to worry about the visitors accessing other sites on the web – it will be up to the visitor.
We have two versions of the ‘app’. One for each stop on the trail, intended for use by a visitor standing in front of an object, and with access to the QR code. The other which can be used ‘standalone’ with arrow keys to take you from one stop to the next.
|Mondrian-on-iPad inspiring bunting design for MERL Fete, 9 June, Reading|
Visitors to MERL’s stand at Lambing Sunday, Amner’s Farm, near Reading, Berkshire, UK, 29 April 2012 made their own sheep and took photos of real ones, and some very new lambs, with iMuse iPads.
We tweeted some @imuse_programme and put them in our sheep gallery alongside other pictures from the MERL.
See Tweet-a-Sheep’s set of photos on Flickr.
See Loren’s photos of lambs here.
And we made a video of a lamb being born.
|And here it is being watched – MERL and iMuse ‘Cultivating knowledge’!|
We’ve found that some people can have difficulty making touchscreens work. There can also be problems with lining-up the camera on a smartphone or iPad with a QRcode. A previous blog, http://imusenews.blogspot.co.uk/2012/02/initial-experiences-with-touch-screens.html, described these problems.
We have a bit more experience, from both visitors and volunteers/staff at our iMuse partner museum and from more elderly and partially-sighted (potential) users elsewhere.
First, on the touchscreen, it seems some people just do not have whatever the right ‘chemistry’ or whatever is needed on their fingertips to get a screen to react. Here is a 92 year old, who can see well enough to touch an icon on an iPad 2, and who is proficient with similar manual tasks such as typing. Despite help, the iPad just did not react at all to his touch. Interestingly, an attempt on a subsequent visit, this time with the new iPad, presented no problems at all and touching, swiping and pinching were all fine.
A staff member at the museum described a similar touch problem with an iPhone, which would not react at all. However, trying our new iPad was fine. Now, they had just come from a shopping trip during which they’d tried out some hand creams. Pure speculation, but is there a connection? One of our volunteers (who wishes to remain anonymous due to this unsavoury habit) confesses to licking her fingers before using a screen that isn’t reacting (and sometimes feels this helps also on a laptop tablet-mouse). Is this real or the start of a new urban myth? What about the weather? Is a very dry day unhelpful?
A museum volunteer just could not get a ‘touch’ on the iPad to work but there could be a reaction to movement – the whole screen in an application shifting. This can be disturbing for people not used to it – they can even think they have ‘broken’ something. We have had this ‘fear’ reaction also from someone in their 70s who is a long standing computer-user, but used to the more mechanical ‘feel’ and reaction of a keyboard and mouse-click.
Earlier, we found another 92-year old felt reasonably comfortable with trying out Historypin (which involves touching a map) on an iPad 2, saying she ‘would enjoy doing this’, but again there could be unexpected movement as the user leaves their finger on the screen, or inadvertently touches it, for example while passing the iPad to a companion. For now, we are locking the screen in the trial ‘apps’ but this isn’t ideal as some of the usefulness of the iPad (e.g. pinching to increase the size of photos to see more detail of a museum object, or as an aid to those with failing sight) is lost.
The iPad can also be awkward, and rather heavy for someone with weak wrists to hold. Without any sort of extra case it can feel a bit hard and ‘slippery’. We also found during the Project Berkshire experience in the shopping mall that some people preferred to use the iPad mounted in a box to do the drawing activity, somehow maybe it felt more ‘secure’? For its use as a QRcode reader, mounted for example on our trolley for a museum visitor to wheel around (http://imusenews.blogspot.co.uk/2012/02/great-reading-cheese-mystery-part-4.html) we have been thinking of moving from the amateur-looking sticky tape and cardboard box to a custom-built wooden box [as befits a Rural Life museum].
This would however increase the weight which may not help more frail users when using it say at home. This is a consideration for our new project, using the iPad and music, where the iPad will be used in partially or totally ‘uncontrolled’ environments in a care home or in the user’s own home. Perhaps again, using it on an adjustable trolley/table rather than handheld might be the way forward? It would give the user one less thing to worry about. Have other projects had experience with this elsewhere?
Using the iPad in a box with QRcodes on movable labels has proved extremely reliable for all visitors to our mini trails. In fact, children enjoyed having to control sliding the label under the camera until the iPad ‘beeped’ and put them online. However, for a partially-sighted user who tried out the box, this lining-up proved a bit problematic, and we have not yet had any user with more difficulties with hand-control try it. Our idea at the moment is to use reasonably thick card for the labels, to give stiffness, and to provide some sort of raised guide rails to help line up the label as it is slid into the box. We’ll do some further testing with users and report back!
But, Chief Engineer Rab Bit and his team have to test the fire engine.
Disaster strikes as Rab is walking to the village through the woods. He steps on a rabbit trap. He drops his notebook. He manages to escape but his leg is broken. He can’t organise the fire engine test.
His team do their best.
They wheel the fire engine down to the village pond. They put one end of a hose in the water. They hold the end of the other hose up towards the trees. They start pumping. Everyone comes to watch.
A great cheer goes up as the water gets to the top of the trees. The fire engine is working.
But suddenly they hear a scream. Mummy Duck comes running up. Duckling is missing. One minute he was taking his first swim in the pond. The next he was nowhere to be seen.
Whatever happened? And where is Duckling?
Crack Reading detectives are called in to look at the evidence.
Some children by the pond thought they saw something fly past. Luckily one of them has taken a video on her phone. The detectives have a good look at it.
Is that Duckling zooming past? It can’t be. Duckling can’t fly yet. He was only just learning to swim.
The detectives find out how the fire engine works.
Was Duckling sucked up by the fire engine? But that should be impossible. A fire strainer on the end of the hose would have stopped anything being sucked up.
They find Rab Bit’s notebook where he’d dropped it by the rabbit trap. He had made a note to take the fire strainer with him.
The detectives hunt for the fire strainer. It looks very new and completely unused.
The detectives have discovered that the team forgot all about the fire strainer. Duckling must have been sucked up by the fire engine and shot out of the other end towards the trees.
They hunted high and low. Eventually they found Duckling, looking very angry, high up in a tree.
Mummy Duck was very happy.
The fire team were rather embarrassed but they never forgot the fire strainer again.
Chief Engineer Rab Bit was so grateful that he gave the detectives a medal and tickets to watch his favourite film, Tilley and the Fire Engines (1911).
The not-so-Alternate Reality
Built in 1839, the fire engine at the Museum of English Rural Life, Reading, UK was in service for over a century. It was tested on Good Fridays as that was the only day, apart from Sundays, that the people in the Norfolk village did not have to work. Testing it was a spectacle that everyone came out to view.
|Privy photo courtesy the Ramsey Rural Museum Cambs|
A Chief Engineer and two other men were paid a small amount to tend the engine which was last used on a call to a privy fire in 1930.
The village decided it was too expensive to keep the fire engine in the 1930s but during the Second World War it was positioned by a farm pond in case incendiary bombs hit the hay ricks.
Further information about the fire engine is in the Museum of English Rural Life catalogue
Just as we were setting-up the trail in the Museum, Fred the Conservator showed us a wonderful Huntley & Palmer biscuit tin. Dating from the 1890s, the tin depicts a steam-driven fire-engine drawn by two horses, with lively scenes of fire fighting. Fred kindly put it in the horse-vet display case near the fire-engine. Fantastic real-time museum display design! Huntley & Palmers was a central part of Reading life in the 19th and 20th centuries, and Alfred Palmer built ‘East Thorpe’ (Later St Andrews Hall) which now houses the Museum’s extensive archives.
Fred also found a video showing a fire engine like the one in the MERL being pulled by a horse in the Netherlands.http://www.brandweerevenementen.nl/Videos/MOV02419.MPG
and there’s another Tilley engine being demonstrated in New Zealand at http://youtu.be/2Ed39zcO84Y
iMuse in Reading is creating a small exhibition to accompany The Friends’ London Road Campus Heritage Trail (Sunday 25 March 2012 – all welcome). After a morning going through the photos we already have from The Friends’ and Women’s Club previous mini exhibitions plus those in the UMASCS (University Museum and Archives and Special Collections Services) archive at the Museum, we had to check out where a couple of them were actually taken
|(original (c) University of Reading)|
Here the correct lodge is pinned down through its unusual decoration. Another photo, claimed to be from Shinfield on an official University postcard (not the Museum’s fault!), was found to come from the old Dairy immediately outside the Museum building itself. Verified by counting bricks and position of drainpipes. A good mark for iMuse’s heritage sleuthing if not a very glamorous task.
Now we have to decide how to display – on separate exhibition boards and/or overlaid on the diagram of the new use for the site and/or on a diagram of the old site layout and/or via Flickr, Pinterest, Tumblr, Historypin. How best to arrange for display on iPads or visitors’ phones? How much text/audio to add? Should we trial doing ‘proper’ audio descriptions? How to keep the photos for another time?
What will work best in the reception area for the Sunday event? Will the University Court the next day be in the same place? How can we support the lightweight, cardboard display as the walls aren’t totally flat (there’s a piece of panelling on one, window halfway up on the other).
For an IT based programme, iMuse people are spending a lot of time with double-sided sticky-tape and paper…here printing out the basic photos for the exhibition… and it went 3D when the iMuse trolley was delivered – flatpacked.
Next week we’ll get back to digital….
|How many women does it take to assemble a flatpack? It was the third one who cracked and asked a man for a set of screwdrivers…|
What’s imuse trying to achieve? Part 1 is at http://www.aact.org.uk/imuse.php. Here’s some more thoughts.
We picked up interesting ideas from Museum Computer Network conference, Atlanta, November 2011 especially from Nettrice’s workshop on Alternate Reality Games – ways of encouraging visitors and museum interaction. Some of those methods were used in the mini [cheese and cheesey] ARG at half-term.
Now we have the book Museums at Play – Games, Interaction and Learning (ed Beale, Museumsetc, 2011). As we look more closely at what we are trying to achieve, it seems worth jotting down bits as we go along so we remember them. The very first sentence was worth the expense! It starts
‘Interactivity, curiosity, challenge, cooperation, choice, creativity, discovery, failure’
That sums up (rather more succinctly than in http://www.aact.org.uk/imuse.php) what imuse is trying to enable.
OK, we are working within some definite constraints. imuse is a project being run by a tiny charity – we are not ourselves a museum. The Charity’s aim is to find ways that inclusion can be increased for those with communications disabilities using IT [our Charity’s strapline is ‘IT helping inclusion’]. imuse is exploring systems that enable ‘interactivity, curiosity, challenge, cooperation, choice, creativity, discovery, failure [well, and success!]’ in the context of: small and moderate sized museums that don’t have dedicated IT teams or much (if any) spare cash for trying new things or buying equipment.
Our plan (to 1Q13) is to try out ideas in ‘several’ (currently defined as ‘three’) museums. If things look promising (i.e inclusion increased) we aim to explore the possibility for setting up a sustainable advisory service.
We are an ‘infrastructure’ project. That is, we look at how museums and their visitors can put in place systems which aid inclusion, particularly using IT. It is then up to the museums and visitors how they use those systems towards their own aims. Taking the analogy for physical access, a consultant may advise a museum on where to put lifts, toilets, the height of the reception desk, space around objects. The consultant will have done a good job if more people can get into and move around the museum. Why the visitor wants to do this and why the museum wants them to do it are different matters, will change over time way after the consultant has gone and will have many facets.
For example, one visitor may want to bring her grandchildren somewhere fun for a holiday outing where they can do things together, another may want to study a specific museum collection. The museum may have funding to help local schools with part of the national curriculum, or have an aim to increase volunteering. The access consultant may have been apprised of some of these at the start of his project, but cannot know them all because things change. Those outcomes are not his speciality. Getting people in and moving around is. After that it’s up to visitors and the museum whether they use the systems for having fun, running a cocktail reception, formal learning, somewhere to go on a wet Sunday.
Lorna noted these comments made during the Great Reading Cheese Mystery trial at the Museum of English Rural Life.
“best trail I’ve ever done at a museum”
“it was really fun and I liked it a lot” (6 year old)
“it was fun but someone was sitting on the basket at clue 6”
“it was fun but hard to find the information” -older girl 11/12ish
“that was really, really good fun”
“that was just excellent”
And here are some observations:
– one person did the entire trail without returning to scan the clues (this was an adult who said they had a child, although the child wasn’t actually seen at any point)
– observation from adult who took two children round separately (i.e. adult went round trail twice) commented that they ‘got bored of reading the parents’ sheet and gave up reading it after struggling through the first paragraph.’ they felt ‘it took the enjoyment away from the trail’ and that they ‘enjoyed and learnt a lot more from just reading and using the detectives report to communicate with the children’. [Further observation from Annette – most parents seemed to have enough to cope with without taking a parents’ sheet. We printed 25 and probably got rid of no more than a dozen (though at least 84 adults took children round. The more useful place for them was probably for those who stayed to talk further about Reading and cheese – not many but enough to make it worthwhile – though most times I forgot there was a sheet they might find interesting post the trail. Speculating I would say the sheet looked too serious and ‘school like’ for what was meant to be a fun, shared half term activity encouraging communication].
– after a while clues began to curl and the inigma machine failed to recognise them
– some clues were found ripped up [very carefully, along the dividing lines and put back in the clue basket – making it difficult to see in passing that the stock of clues was running low. This was next to the tinies’ model farm play-area so may have been a 2 year old vandal from there rather than a registered detective. Annette has kept the one that was actually chewed as a souvenir].
– as far as our records go, only one parent-child set started the trail but did not finish it – in fact stopped after going to the first clue site, saying the game was too difficult for the 6 year old and the child did not want to continue. More support was offered but not accepted.
– a parent and child were doing the rat trail and came and asked if I knew where the last rat was. I explained that Judith at the desk had a help sheet. As Judith was on the phone and there was a slight queue. I offered to have a look at their clipboard and see if I could remember where the last one they were looking for was. This led to me getting the rat trail up on the iPad [this is on the Open University’s free Our Story app] and talking the child through each slide on there, to see if they had found the rat pictured. This helped them find the rat they had missed, without being too obvious about where it was. They then went off to find said rat and later when undertaking the cheese mystery, thanked me for the help in finding it. Not strictly cheese mystery but I thought it was a good thing to note and they seemed to quite enjoy looking at the rats on the iPad. They also got correct names for objects of where the rats where hidden when going through them on the iPad. (as in the object names of where they found the rats were slightly incorrect in the first instance)
– there seem to be 2 ways of viewing the Mystery – one as a quest and other as getting round the museum. A lot of children saw it as a quest-like adventure whereas for parents/grandparents etc that went round with younger ones, it was more of a different way of getting around the museum. [we had deliberately designed it so the groups had to go through a substantial part of the museum for three clues, and for another had to go in the opposite direction to the temporary exhibition which people often said they had not realised was there].
– cheese making part of the trail – a lot of people missed the full content of this part of the trail and the detectives’ report came to the bottom of the page part way through and therefore this led to them missing the need to turn over the page. Maybe a P.T.O would have been helpful here [we tried to get more of a ‘flow’ about the actual cheese making process at one clue stop. This meant changing gear to look at 3 objects and as it coincided with having to turn the page on the detective report, a lot did not manage to do all of this. By contrast, a few families looked really closely, lead poisoning being a topic which one mother and child had discussed and the child really interested in e.g.].
– one child asked to do it again – completed it very quickly
– ‘but we can find it’ – two girls [?] when asked if they knew what a milk float was – a positive can-do attitude as despite saying no they didn’t know what it was they weren’t fazed at all and declared as it says that ‘we can find it!’
– Lady (grandparent) was going to tell the story of smelling the cheese to others as she found it very humorous and obviously a must-tell to her friends!
– Reading cheese press – thought it was from Dorset [it was – where it was made. Quite a lot of people didn’t take the extra step to read the old museum label to find where it had been used. – and did a label disappear during the week? This was another ‘change of gear’ in terms of observation which many didn’t manage]
A local farmer, Bert Houghton, wrote some charming books in the ’80s and ’90s about his experiences.
We were introduced to them by his step-daughter, who is the head of a special school nearby. We’ve now found copies of ‘Not just a Berkshire Farmer’ and ‘Just more of the Berkshire Farmer’ in the Museum of English Rural Life library, and also on Amazon (so we’ve splashed out). All the copies are signed by Bert which is a lovely touch. The Museum archivists have also found us the copy of Farmers’ Weekly for 1975 on which a poem in the book is based.
We’ve found some objects in the MERL that are very similar to those in some of the illustrations. We are now trying to find out who may own the rights now to both the illustrations and the text to see if we might use them in a trail around the Museum, especially for visitors who might find communication difficult for one reason or another.
Our ideas are similar to those for the Olympic trail (see next blog). A two-sided card would hang from the object. One side might look something like this:
Amy in the Ure Museum, University of Reading, UK, has given us some terrific material for an Olympics trail. This would be in addition to their exciting work they are already doing with the Open University producing an iPhone app, and also two local schools looking at the objects in imaginative and fun ways.
We think a shortish trail of a few Olympic-related objects, described in Widgit symbols and augmented by info online might be fun and useful especially for those who find reading and general communication difficult.
Our current idea is to have a card printed on both sides hanging near an object. Amy has pointed out a very useful area next to each case which we might be able to fasten things to without in any way disturbing the current displays.
The card would have quite sizeable dimensions – something like 7cm x 21cm – to make it easy to handle. Visitors could either use it as it is, ignoring the QR code, or could scan the code with their own phones or, for specially organised trips, with an imuse iPad box (which is designed to be specially easy to use for anyone who finds accurate use of a touch screen a bit problematic).
Here’s a preliminary mock-up of a card. We’d welcome comments on usability etc. Note that the symbols are copyright Widgit Symbols Ltd.
We needed a cast-iron way that visitors taking part in the game could get the ‘clues’ decoded. Having experienced problems with wi-fi coverage in some parts of the museum, and also found some visitors had problems with the iPad touch screen, we used an iPad box and security device to make a (very) simple prototype ‘machine’ to stand in one place in the museum. Holes were cut in the box to allow use of the cameras, access to the power inlet and so on.
An iPad 2 was loaded with the i-nigma QR code reader app, placed inside a security shield and placed on top of the box.
A small adjustment was needed – an extra ‘slot’ through which a torch could be shone when light levels were low.
We did not use the matchbox to load clues in practice as it was fiddly and added time. Children just put the clues (which were printed on ordinary 90gm paper) into the slot which was made half an inch deep.
However, some further adjustment is needed to guide the code to an exact spot. Children using the machine enjoyed ‘lining up’ the code with the reader’s preferred area, but for more certain outcomes when used by those who might find this difficult, or who are more interested in getting the information than ‘playing’ with the iPad, there needs to be a guidance mechanism for the card containing the code.
The iPad cover was taped to the box to prevent users slipping things down inside. We are going to encourage visitors to bring their own iPads. A similar box onto which they can put their own iPad without fixing it permanently might be worth trying.
For general use around the museum, we will also try mounting the box on a trolley. This might also get round the fears about security. Not a solution that would be feasible in a very crowded gallery, but one that might work in smaller, less densely visitor-packed museums, or for use in small tour groups. It will also help those who find carrying the iPad for any length of time difficult, and those who find it difficult to ‘line up’ a QR code on an object with a smartphone or iPad camera.
If the box proves useful we might get one made of a suitable material (wood perhaps for the Rural Life museum).
It would be too intrusive to have this sort of box in many fixed places around the museum. However, it sounds as though there has been some work on doing something similar for visitors to use with their phones and we’ll investigate that. It may be a way of getting round the lack of NFC (near field communication) on current generation iPhones and other smartphones and could help those who find lining up on a QR code difficult, for example because of poor hand-eye coordination or through sight-impairment.
This note gives the numbers taking part in the imuse-organised activities in the Museum of English Rural Life, Reading, UK, half-term week February 2012 .
Number of children: 134
Quite a few more than: 85 adults
Total number of people more than: 219
The Great Cheese Mystery Trail is described in other posts.
Tuesday: 30 children; 21 groups = min no adults. Total at least: 51
Wednesday: 20 children; 13 groups = min no adults. Total at least: 33
Thursday: 32 children; 18 groups = min no adults. Total at least: 50
Friday: 39 children; 26 groups = min no adults. Total at least: 65
Saturday: 11 children; 5 groups = min no adults. Total at least: 16
Sunday:2 children; 2 groups = min no adults. Total at least: 4
The Great Reading Cheese Mystery ‘full story’ can be read online (available through www.imuse.org.uk which children had on the bottom of their certificates at the end (though quite often we forgot to point this out).) The online story has been opened 35 times to date.
The ‘vagueness’ of some clues (referred to in Rob’s post, below) led to increased interaction between visitors and the imuse people manning the ‘Forensic Lab’. This is a plus for a communications-charity project! It would be a minus if we wanted to have trails where the visitors could do them unaided and/or we didn’t have a fairly highly manned central place visitors could go for help/discussion.
Feedback from children was almost universally enthusiastic. They were given a chance to ‘vote’ at the end on whether it was ‘fun’, ‘sort of OK’, ‘not fun’ by putting the appropriate smiley face card into the i-nigma machine (the iPad). We weren’t very careful about asking everyone to vote, and sometimes a vote was put in for a group rather than individually.
The more adult vote (‘we found out quite a bit’, ‘we found out a little’, ‘we didn’t find out anything new’) had even lower numbers of participants as we rather got involved in the business of cheese sniffing, hearing what people had to say and managing the certificates and the machine.
For what it’s worth the feedback into the machine was:
It was fun: 79; it was sort of OK: 8; it wasn’t fun: 2;
We found out quite a bit: 20; we found out a little:8; we didn’t find out anything new: 2
Probably the place where adults found out most was at the end where there could be a discussion about Berkshire not being a traditional cheese county, but that local cheese making had a renaissance (two were named in the trail and contained local place names), that the BDI dairy was next door and now the cafe and that Reading still had a strong interest in dairying and cheese-making courses in particular. Several adults said they’d never known that and a few stayed longer to discuss further.
Whether many of the children learned a lot is difficult to judge. Reactions varied from a child coming back telling us about the cheese press being poisonous (it contained lead) and other detail about objects, to those who zoomed around looking for the next clue at high speed.
At least two children downgraded their vote from ‘it was fun’ to ‘it was sort of OK’ explicitly because of the smell of the cheese (the adults protested to them that they’d had tremendous fun, but this did not sway their vote!). One 8 year old went to see his grandmother later that day and said he was going to sue us because he’d never forget the smell….
We also had a ‘ways of i-seeing’ activity (to mirror the Museum’s own activities with various optical devices such as kaleidoscopes) where a visitor could pick their favourite museum object, and transform it optically using the Photobooth app on an iPad 2 (securely slung around their neck). We know 8 people took part early on in this, producing some interesting results (see www.imuse.org.uk for pointer to these on Flickr) but we ran out of effort to run the two activities in parallel.
We had not advertised these activities and very much benefited from being ‘off the back’ of the Museum’s advertised activities, with people able to join-in several activities during their visit. Tuesday and Thursday had activities for 6+ advertised, and Friday for younger children.
We’ve tried a very simple ‘game’ in which an object had an A4-sized label attached looking like this. The child is asked to find one of the labels in the museum, a volunteer scans the QR code with an iPad 2 and the child is asked to ‘touch’ whichever object they think they are looking at. The reasons for doing this, including the use of Widgit symbols for objects can be left till later. For now this is a note to remind us of the practical problems and what we’ve done since.
The ‘game’ was trialled with some under 5s (plus mothers) and also shown to some museum volunteers, a few other visitors and staff. Problems included: small fingers not ‘touching’ enough, ‘dry(?)’ fingers just not getting a response, elderly visitor with gloves on (did not feel could ask to remove), a vague ‘fear’ of touching the screen, response time not completely instant (child used to iPad apps).
There were problems in some areas of the museum with variable wi-fi (appearing sometimes on one moment, off the next). Lining up the iPad (which was hung round the neck) with the code caused some uncertainty on occasion (possibly the non-central positioning of the camera on the iPad causes problems in alignment that don’t occur with a smartphone). Shadows occasionally caused a problem. A4 sheets were hung with string from the objects. It was not always possible to get them so they didn’t move/swing round or so that they were at a good height, though some of these problems were due to their temporary, experimental unplanned nature.
For our half-term activity (The Great Reading Cheese Mystery qv) we wanted a totally reliable way of children being able to get an iPad to ‘decode’ a clue which included a QR code. We therefore set up an iPad in a makeshift box, on a table with good wi-fi access. The children find a ‘clue’ and return to the ‘lab’ to have it analysed by the decoding ‘machine’. So far the i-nigma QR code reader app has been found reliable and this was loaded. The iPad was set not to turn off to minimise things that ‘could go wrong’ though the i-nigma app would need ‘resuming’ if not used for some time.
The child slid the clue under the iPad in a slit in the box. The iPad then revealed the analysed ‘clue’ (a simple wepage).
Apart from one very brief spell lasting a minute or so (in which i-nigma reported server problems) the decoding has been fast enough and totally reliable over two days. On the whole, children quickly learn how to position the code to get the app to ‘beep’ that it had read it. Some easily learned how to go to ‘home’ and restart i-nigma. Children seemed to enjoy using ‘the machine’. The ‘machine’ was movable so a child in a low wheelchair was able to use it and read the resulting clue. Children down to around 4 years old took part successfully. The machine was ‘manned’ by volunteers throughout.
Of course, we would like to have much more mobile access around the museum. The iPad has some proven advantages for people with various types of communication and related disability, using the inbuilt Accessibility features. However, its weight, the problems of reliably touching, wi-fi difficulties and problems of aligning with QR codes mounted in the ‘traditional’ museum position (e.g. on an existing label), not to mention security issues, have put us off using it in this ‘conventional’ way.
One of our next steps will be to trial a lightweight but stable trolley which small groups can take round the museum, picking up QR codes on cards and ‘feeding’ them to the machine rather than the other way round. We will need to chose objects for their good wi-fi coverage and physical accessibility as well as for their interest/relevance to the trail or game.
We hope this way to enable visitors who find difficulty in typing (e.g. to put in an object’s stop number) or reliably using a touch screen to participate in a trail and to take part in choosing what they find out about.
The ‘iMuse in Reading’ sub-project aims to encourage people to learn more about their heritage and that of others in novel ways. We are creating a mini ‘Alternate Reality Game’ (ARG) aimed at families with children aged 6-13 visiting the Museum of English Rural Life during half-term, February 2012. The techniques we used were informed by a workshop at the Museum Computer Network conference in Atlanta, Georgia, November 2011.
The Museum has a growing interest in promoting ‘Sense of Place’ and ‘iMuse in Reading’s’ funder (Reading Borough Council through its Culture and Sport Fund) wishes to promote local people’s knowledge of local history.
We have selected a topic which takes advantage of the fact that the Museum is on the site of the newly refurbished University of Reading London Rd campus. Serenditpitously, the building next door to the Museum was a dairy used by the British Dairy Institute, an associate of the old pre-University College. This building is now a cafe and serves as the cafe for Museum visitors. Objects from the Institute and from the University are in the Museum, and the University maintains a strong tradition of both dairy research and specialist teaching in its departments of Food Science and Agriculture. Reading itself being a highly urban environment, it seemed likely that many local people did not know about this historical and continuing link with rural life.
The Museum holds an extensive collection of objects related to butter-making and runs events which include butter-making. However, Lorna’s advice was that cheese had the potential to be more ‘hilarious’ to children. With the help of Greta, a member of Museum staff, we scanned the online catalogue. There were some striking objects with local dairy connections [e.g. cheese press, milk float] and some which were strikingly large but unlikely to have been noticed before [e.g. whey heater, milk churn].
There was also the potential for following a storyline – cheese production – though we have had to modify this slightly due to the layout of the Museum being materials- rather than process- based, and some relevant equipment being in the not-so-accessible store upstairs.
Berkshire is not well-known for traditonal cheese making, but there has fairly recently been a resurgence of interest in specialist cheeses, and there are now two cheese-makers within a few miles of Reading, both making cheeses with locally-related names (Barkham Blue and Spenwood, named after Spencer’s Wood).
There was a further piece of context we wanted to include. The Museum has a temporary exhibition of rural photographs and has based this half-term activities around the theme of ‘all things optical’ encouraging visitors to investigate new ‘ways of seeing’. While our other activity (Ways of i-seeing, qv) more closely follows this theme, there was potential for including a photo in the game.
The Museum had advertised its activities for this week as suitable for children 6+ so it seemed sensible to aim for the same age range as we had done no advertising of the game.
After some discussion, and several ‘walks around’ the main, ground floor area, we firmed up on these aims for the game:
- A fun activity for family groups where the children have a definite role
- Encouragement to talk about what they are looking for by making the trail aspect not immediately obvious.
- Encouragement to explore the full area of the ground floor and to look at objects in a little more detail than might be the case if just walking around
- Coming away with some increased knowledge of Reading’s connection with dairying and cheese-making in particular.
For us a chance
- trial some technology (QR codes, iPads, wifi, web access) in a ‘real’ museum context
- observe how such an activity increases (or otherwise) communication both within groups and with museum personnel [imuse helpers in the main on this occasion]
- get some feed-back from visitors
- possibly extend visitors’ interest beyond the visit by pointing them to online content (especially the backstory which can be made more accessible e.g. by audio)
At the time of writing this post, a draft trail has been tested by Rebecca, 13. As a result, some modifications are needed to make parts of the trail a little more (but not too!) obvious. When this is complete, a further blog will describe how the game was created and publish the materials used. Meanwhile, a draft of the backstory can be read here. This will be updated to reflect the revised game plan before it goes live on Tuesday.
Pongo Cheddar is professor of Food Technology at Reading University.
He is short of money because he made an unwise investment in Cheesey Wotsits just before the world economy took a massive dive in 2008. For some time his colleagues have noticed his suspicious behaviour. He has been spotted observing the dairy herd at odd hours. He has been seen sneaking into the University dairy in Redlands Rd late at night.
When the secret cheese formula disappeared at the same time as the Professor, Chief Inspector Mouse of Thames Valley Police was called in to investigate. However, the case completely baffled him. Cheesed off, the University called in crack detectives from Reading to help out.
A forensic lab was set up in the Museum of English Rural Life right next door to the dairy.
Detectives were issued with their ID cards which gave them access to the lab’s patent i-nigma machine. This could analyse clues at some speed.
A piece of black cloth was found. i-nigma analysed it as coming from an academic gown. The Farm Manager had spotted one abandoned near one of the University’s farms. Detectives searched for it and found it hanging near an old Suffolk wagon. Looking up, they noticed this was a prime vantage point from which to view some types of animal which produced milk for cheese. They counted the types and then found another clue – bits of straw.
i-nigma identified it as straw from an experimental field near where the University kept its historic steam engine. Detectives rushed to the spot and noted the words inscribed in the ground next to the cows. They found evidence that the Professor had been there, his college scarf. They also found a third clue – a sort of white splat. They eagerly got i-nigma to analyse it.
It was fresh milk from the University’s dairy herd. It looked as though someone had spilt it when stealing the cows’ milk. Detectives found a milk float parked outside the dairy. They noticed it came from Caversham. The Professor lived in Caversham. Was there some link?
Detectives took a good look around the dairy. There were several bits of cheese-making equipment. They found the whey heater up against the wall beside an enormous milk churn. They noted it was made of wood and metal. It had been used recently.
Calling in a cheese-making expert from the Food Science Department, they realised the next stage would be to press the cheese so they went hunting for a cheese press.
Yes, they noted that the green cheese press had been used at the University! And the Professor’s mortar board was abandoned next to it. Had he been secretly making cheese from the formula?
Nearby was another clue. i-nigma analysed it as horse hair. A horse and cart had been spotted leaving the dairy at great speed late at night. Was It being driven by the Professor?
Searching for the cart they found it parked but no one was to be seen. However, a green welly was left nearby, and they took the clue they found there back to i-nigma. i-nigma confirmed it was mud from the welly boot and seemed to come from a farm nearby.
Detectives visited the farm and discovered police photographer Justin Partyka had already taken a photo of the old pantry which contained a vital piece of evidence, a plastic supermarket carrier bag. Nearby they found a further clue, a fingerprint. i-nigma confirmed it matched the Professor’s fingerprint and also had pungent cheese molecules on it.
The evidence seemed to be getting stronger and stronger, as was the dreadful smell! In a small cupboard, their nose told them they had the final bit of evidence. A new form of Stinking Bishop cheese. The Professor had been in talks with supermarket giant, Tesco, hoping to make a fortune by selling the formula.
His colleagues in the Food Science Department were furious as they had all worked on the new formula and were hoping to share in the fame it would bring them.
Professor Pongo Cheddar was up in Reading Crown Court for formula theft and endangering public health by manufacturing a malodorous cheese.
Chief Inspector Mouse retired early, too embarrassed that Reading’s detectives had solved the Great Cheese Mystery where he had failed.
The Detectives were awarded certificates of appreciation by the grateful University.
The formula was safe again.
The not-so-alternate reality
The building which is now the Eat cafe next to the Museum of English Rural Life was part of the British Dairy Institute. This taught cheese-making, and some of their equipment later came to the Museum. The University of Reading still teaches cheese-making and maintains a strong academic interest in Agriculture and Food Science. If you go to the cafe you can see milking stools and a life-size wall painting of a cow (up the steps inside the cafe).
|(c)Vanda Morton – used here with the artist’s kind permission|
In ‘Old Redlands’ published by the Redlands Local History Group in 1990, a local resident recollected that the University kept herds including Guernsey, Jersey and Alderney cows and a ‘source of cheap weekend nourishment [for local people] was the university farm dairy on the corner of Elmhurst Road and Upper Redlands road, where children from poor families would be sent to fetch a halfpenny jugful of skimmed milk on Saturdays for milk puddings.’
Berkshire isn’t traditionally thought of as a cheese making county, but there has been a resurgence in interest in cheeses and Barkham Blue (made near Wokingham) and Spenwood (named after Spencers Wood) are made just a few miles away.
The RSA has given a grant of £1,500 from its Catalyst Fund to Fellow Annette Haworth.
Annette is imuse’s voluntary Project Manager.
She will put £900 of her grant towards the cost of engaging a museum learning professional who will help create material especially for people with communication and learning disabilities.
£500 of the grant will be used towards evaluation by a specialist in digital access for people with communication and learning disabilities.
The aim is to help find real, practical evidence for the impact of the imuse ideas.
If the results are as encouraging as we hope,this evidence will be used to encourage funders to help us set up a national advisory service mid-2013. This would help smaller museums, who cannot afford to have such expertise in-house, engage visitors in novel ways using IT.
You can see the bid to the RSA here.
imuse is a programme trying-out some low-cost ways that visitors can communicate with a museum and with each other using mobile phones and tablets like iPads.
If they do we aim to help set up an advisory service so smaller museums can use these techniques.
imuse is being managed by a communications charity, Access-Ability Communications Technology (AACT).
Read the imuse background information.