Amgueddfa Blog: Cyfryngau Newydd

Artist 'dwi, ac ar hyn o bryd dwi'n astudio gradd MA mewn dylunio a chrefft cyfoes. Fe ymwelais i â’r casgliad Molysga ar ôl darllen blog am strwythr mewnol cregyn ar wefan yr amgueddfa. Mi wnes gysylltiad rhwng strwythurau mewnol cregyn a sut y mae printwyr 3D yn gweithio ac yn creu siapiau. Ar y blog roedd rhif cyswllt ar gyfer Curadur Molysga, felly mi gysylltais â Harriet Wood, heb wybod beth i’w ddisgwyl.

Ffotograff o groestoriad o argraffiad 3D, sy'n dangod y strwythr mewnol
Strwythr mewnol argraffiad 3D © Matthew Day 2017

Pan esboniais fy ngwaith yn gyda prosthetau wrth Harriet, a’r cysylltiadau rhwng strwythr cregyn ac argraffu 3D, mi wahoddodd fi i ymweld â’r casgliadau, ac i fy nghyflwyno i’r person sy’n gyfrifol am sganio ac argraffu 3D yn yr amgueddfa.

Mynd 'tu ôl i'r llen'

Fuaswn i fyth wedi gallu dychmygu ymweliad gystal. Fe gwrddais â Harriet wrth ddesg wybodaeth yr amgueddfa ac yna mynd ‘tu ôl i’r llen’, ble cedwir y casgliad. Roedd cerdded trwy’r amgueddfa i gyrraedd yr ardal ‘cefn tŷ’ yn braf a modern. Roedd yn f’atgoffa o bapur academaidd y darllenais cyn ymweld, o The International Journal of the Inclusive Museum: ‘How Digital Artist Engagement Can Function as and Open Innovation Model to Facilitate Audience Encounters with Museum Collections’ gan Sarah Younan a Haitham Eid. 

ffotograff yn dangos cwpwrdd mawr llawn droriau sbesimen
Rhai o'r archifau yn Amgueddfa Genedlaethol Caerdydd © Matthew Day 2017

Mae gan ‘cefn tŷ’ yr amgueddfa naws arbennig – dyw’r cyhoedd ddim yn cael mentro yma heb drefnu o flaen llaw. Roedd yn fraint cael cerdded trwy stafelloedd yn llawn cregyn ‘mae pobl wedi eu casglu, ac wedi’u gwerthfawrogi am eu harddwch, dros y blynyddoedd. Beth oedd yn fwya diddorol imi oedd pa mor berffaith oedd y toriadau yn y cregyn. Roedd yn cregyn wedi’u torri yn edrych fel taw dyma oedd eu ffurf naturiol – roedd pob toriad yn gain iawn ac yn gweddu i siâp y gragen. Dyma beth oeddwn i eisiau ei weld.

Ffotograff du a gwyn yn dangos amrywiaeth o dafelli cregyn
Tafellau o gregyn yn Amgueddfa Genedlaethol Caerdydd © Matthew Day 2017

Doedd gen i ddim geiriau i fynegi fy hun pan welais i’r casgliad yma o gregyn – yn enwedig gweld y darn o’r gragen na fyddwn ni’n cael ei weld fel arfer. Rodd yn gyffrous gweld y strwythr mewnol, am ei fod yn ychwanegu gwerth asthetig i’r cregyn. Roedden nhw’n fy atgoffa o waith cerflunio Barbara Hepworth, artist dwi’n ei hedmygu yn fawr.

Ffotograff du a gwyn yn dangos cragen siâp côn wedi'i dorri i ddangos strwythr troellog y gragen
© Matthew Day 2017

Rydym ni’n gweld cregyn ar y traeth drwy’r amser, a mae’n nhw’n fy nghyfareddu – yn enwedig cregyn wedi torri ble gellir gweld y tu fewn i’r gragen. Mae hwnnw fel arfer yn doriad amherffaith, yn wahanol iawn i’r toriadau bwriadol yn y casgliad, sydd wedi’u gwneud yn bwrpasol i ddangos ini beth sydd ar y tu fewn. Caf fy atynnu at ffurfiau naturiol sydd wedi eu siapio gan berson.  

Sganio 3D: Celf a Gwyddoniaeth

Cyn archwilio’r cregyn fy hyn, cynigiodd Harriet i fynd â fi i lawr i weld Jim Turner, a dyna ble buom ni’n trafod am rhan helaeth fy ymweliad, am fod ei waith mor ddiddorol.

Mae Jim yn gweithio mewn labordy sy’n defnyddio proses ffotograffig o’r enw ‘Stacio-z’ (neu EDF, ‘extended depth of field’), sy’n cael ei ddefnyddio yn aml mewn ffotograffeg facro a ffoto-microscopeg.

Ar hyn o bryd, mae'n creu archif o wrthrychau wedi’u sganio mewn 3D ar gyfer gwefan yr amgueddfa, ble all bobol ryngweithio gyda’r sganiau yn defnyddio cyfarpar VR – gan greu profiad hollol newydd i’r amgueddfa.

Gallais ddeall yn syth beth oedd Jim yn ei wneud o fy mhrofiad i. Esboniodd y broses a roedd nifer o elfennau technegol tebyg. Roedd yn bleser cael siarad gyda rhywun sy’n defnyddio sganio 3D mewn ffordd wahanol imi. Mae Jim yn defnyddio sganio 3D mewn ffordd dwi wedi ei weld mewn papurau academaidd. Er nad yw’n gwneud gwaith creadigol gyda’r cregyn, mae e dal yn rhoi gwrthrychau mewn cyd-destun newydd, ble all pobl ryngweithio â nhw yn defnyddio technoleg ddigidol fel cyfarpar VR neu ar y we trwy sketchfab.

'Fel bod ar y traeth...'

Pan ddes i ‘nôl at y casgliad molysga, mi ges i amser i ymchwilio’r casgliad ar fy liwt fy hun a doedd dim pwysau arna i i frysio – felly ces gyfle i edrych yn graff ac archwilio’r cregyn. Roedd fel bod ar draeth a chael oriau i archwilio’r holl wrthrychau naturiol.

Ffotograff du a gwyn yn dangos cragen siâp côn wedi'i dorri i ddangos strwythr troellog y gragen
© Matthew Day 2017

Cafodd yr ymweliad effaith wych ar fy mhrosiect MA – a mawr yw’r diolch i Harriet a Jim am eu hamser. Trwy’r ymweliad, fe fagais hyder i gysylltu ag amgueddfeydd eraill, fel Amgueddfa Feddygol Worcester, ‘ble bues i’n gweithio gyda soced prosthetig o’u casgliad. Mi sganiais y soced, ac wedi fy ysbrydoli gan gasgliad molysga Harriet, mi greais gyfres o socedi prosthetic cerfluniol, wedi’u hysbrydoli gan strwythurau mewnol cregyn, oedd yn darlunio croestoriadau rhai o’r cregyn mwya atyniadol yn y casgliad.

'Cerflun ynddo'i hun': fy nghasgliad o gerflunwaith brosthetig

Ffotograffau cyfochrog yn dangos hosan brosthetic a thafell gragen. Mae'r hosan brosthetig wedi'i chynllunio i gynrychioli siâp mewnol y gragen
Prototeip cysyniadol o hosan brosthetig wedi'i ysbrydoli gan y casgliadau molysga yn Amgueddfa Genedlaethol Caerdydd © Matthew Day 2017

ffotograff yn dangos hosan brosthetig gerfluniadol ddu gydag addurn melyn
Prototeip o hosan brosthetig gerfluniadol wedi'i ysbrydoli gan gasgliad Molysga Amgueddfa Genedlaethol Caerdydd © Matthew Day 2017
ffotograff yn dangos hosan brosthetig gerfluniadol lwyd gydag addurn melyn
Hosan brosthetig wedi'i hargraffu mewn 3D a'i llifo, wedi'i ysbrydoli gan y casgliadau Molysga yn Amgueddfa Genedlaethol Caerdydd © Matthew Day 2017

ffotograff yn dangos hosan brosthetig gerfluniadol gydag addurn mawr siâp cragen gron
Hosan brosthetic wedi'i hargraffu mewn 3D a'i lifo, wedi'i ysbrydoli gan gasgliad Molysga Amgueddfa Genedlaethol Caerdydd © Matthew Day 2017

 

Be’ Nesa?

Mae fy ngwrs MA nawr ar ei anterth, a dwi’n edrych ymlaen at ddechrau’r prif fodiwl dros yr haf.

Ar gyfer y rhan olaf o’r cwrs, hoffwn i gymryd yr hyn dw i wedi ei archwilio a’i ymchwilio hyd yn hyn, a’i ddefnyddio i greu darn prosthetig a allai fod yn rywbeth all rhywun ei wisgo, ond sydd yn gerflun ynddo'i hun – a mae’r gwaith yn mynd yn dda.

darlun 3D o gynllun ar gyfer cynllun coes brosthetig, gydag addurniadau wedi'u hysbrydoli gan strwythr mewnol cregyn
Darlun cysyniadol o goes brosthetig gerfluniadol, wedi'i ysbrydoli gan gasgliad Molysga Amgueddfa Genedlaethol Caerdydd © Matthew Day 2017

Hoffwn i greu rhywbeth wirioneddol syfrdanol yn defnyddio argraffu 3D, gan ymgorffori asthetig wedi’i ysbrydoli gan y casgliad cregyn a’i uno gyda’r cerflunwaith prosthetig a welwch yma ar y blog.

Gallwch weld mwy o fy ngwaith ar fy ngwefan: Matthew Day Sculpture

Towards the end of last year, staff members from the Amgueddfa Cymru took part in a research ‘Roadshow event’ held at Swansea University.   The event gave a chance to meet academics with shared research interests and discuss potential collaborations between our two institutions, and already the event seems to have nurtured some promising links.

At the event Teresa Darbyshire, our Senior Marine Invertebrate Curator, made contact with Dr. Rich Johnston who is co-director of Swansea University's brand new Advanced Imaging of Materials Centre (AIM), a £9M EPSRC/Welsh Government funded integrated scientific imaging facility for Wales. Following this contact, the opportunity arose for myself, Teresa and Dr. Jana Horak (Head of Mineralogy & Petrology) to visit the centre and see the facilities first hand.

To say we were a little overwhelmed by the centre would be quite an understatement. The centre offers state-of-the-art advanced imaging facilities including including transmission electron microscopy (TEM), scanning electron microscopy (SEM), Ion beam nanofabrication, X-ray Diffraction (XRD), X-ray Photoelectron Spectroscopy (XPS), Energy-Dispersive X-ray Spectroscopy (EDS), and micro and nano X-ray computed tomography (microCT). Not to mention a full suite of optical imaging and teaching microscopes.

AIM is primarily focused towards engineering and material science, and you may be wondering why they would be keen to collaborate with the Natural Sciences department here at the Museum. Well, part of their research is looking at the structures of biomaterials to learn how naturally occurring materials are formed, and with over 3 million specimens in our Natural Science collections we offer a huge reference library of material, along with the specialist knowledge of our curatorial staff, right on their doorstep. In return, we can benefit from access to their facilities to help us investigate our collections further for our own research and outreach needs, perhaps helping us to discover new species or identify historic conservation work that may have been undertaken on our specimens.

In fact, we are already utilising their MicroCT scanner to digitise a Whelk shell in order to produce a 3D printed replica in transparent material so that we may see how hermit crabs and a species of marine worm co-habit in these shells.  As you can see below, we’ve already digitally scanned the external of the shell here at the museum, but AIM’s MicroCT Scanner will enable us capture all the internal structures as well. We'll post the results when we get the scan back.

 

 

Whilst there, we also had the chance to visit the Virtual Reality (VR) lab to see how digital models produced by microCT or our own 3D scanning facilities could be developed for outreach and learning in a virtual environment. We had the chance to "visit" a virtual museum and see digitised objects in this environment. Although a little disconcerting to start with, once we got familiar with the VR world it really did offer a unique way to visualise objects that otherwise may not be possible. In the future, this technology really could open up new ways for the public engage with our collections.

 

To celebrate Pride Cymru coming to Cardiff this weekend, our homepage has had a little touch of colour applied to it. If you use Safari on the Mac, you may notice another special feature - your browser's toolbar itself is emblazoned with rainbow colours.

Hafan yr Amgueddfa

If you use Safari regularly, you'll be familiar with the visual effect that sees page colours slip behind the browser toolbar as you scroll. It's a neat effect but I hadn't heard of a site actively utilising it before and I wondered if, with a bit of HTML, CSS & JavaScript, we could fix a set of colours there. The vibrant rainbow colours of Pride seemed like the perfect fit. In this blog entry, I'll describe in tedious/fascinating* (*delete as appropriate) technical detail how we achieved it.

The Technique

At first I tried setting the margin of my element to a negative value to push it into the toolbar area. Unsurprisingly, this doesn't work - it's simply not displayed. The actual solution was almost as simple itself and we were pretty pleased with the result.

To start off, all we need are two divs.

<body>
    <div id="toolbar-colours">…</div>
    <div id="content-frame">…</div>
</body>

The first div will contain the colours we want to show in our toolbar. We give this a fixed height, 150px in this example.

The second div will contain our content. We give this a fixed width and height of 100vw and 100vh. This means it will neatly and seamless fill the browser viewport area.

#rainbow_toolbar
{
	background-color: #b20034;
	height: 2px;
	display: flex; /* We actually use Sass includes for cross-browser flex-box support */
	width: 100%;
	padding: 0;
	margin: 0;
}

#rainbow_toolbar.safari_trick
{
	height: 150px;
}

#rainbow_toolbar .colour_block
{
	flex: 1;
	height: 4px;
	padding: 0;
	margin: 0;
}

#rainbow_toolbar.safari_trick .colour_block
{
	height: 130px;
}

#rainbow_toolbar .colour_block.violet { background-color: #9400d3; }
#rainbow_toolbar .colour_block.indigo { background-color: #4b0082; }
#rainbow_toolbar .colour_block.blue { background-color: #0000ff; }
#rainbow_toolbar .colour_block.green { background-color: #00ff00; }
#rainbow_toolbar .colour_block.yellow { background-color: #ffff00; }
#rainbow_toolbar .colour_block.orange { background-color: #ff7f00; }
#rainbow_toolbar .colour_block.red { background-color: #ff0000; }

Using a little JavaScript, we can make sure that we're always scrolled past the first div, making it colour the browser toolbar.

$(window).scroll(function() {

    if ($(window).scrollTop() < 150) {
        $(window).scrollTop(150);
    }
});
$(window).scrollTop(50);

The only thing remaining is to sort out our scrollbars which are giving the game away. We hide the main browser scrollbar and give our content-frame a standard-looking scrollbar instead.

::-webkit-scrollbar
{ 
    visibility: hidden; 
    display: none;
}
				
#content-frame
{
	background-color: #e4e4e4;
	height: 100vh;
	width: 100vw;
	padding: 0;
	border: 0;
	overflow-y: scroll;
}
					
#content-frame::-webkit-scrollbar
{ 
	display: initial;
	visibility: visible;
	background: #f4f4f4;
	color: #ffffff;
}
		
#content-frame::-webkit-scrollbar-track
{
	background-color: #f4f4f4;
	border-radius: 8px;
}
		
#content-frame::-webkit-scrollbar-thumb
{
	width: 4px;
	border-radius: 8px;
	background-color: #b4b4b4;
	border: 3px #f4f4f4 solid;
}

There are few more JavaScript tricks we can use to tidy up our implementation. This includes managing the up arrow and page-up keys which create a visual glitch:

// disable page up and arrow up when at top of content
window.addEventListener('keydown', function(e) {
	
	if( $('#content-frame').scrollTop() <= 0 && [33, 38].indexOf(e.keyCode) > -1 ) {
		e.preventDefault();
	}
}, false);

The Caveats

It's a neat little trick but also somewhat of a hack. Putting your content in a scrolling div carries a small but noticeable performance penalty when scrolling and when using a touchpad to scroll you may get an occasional visual glitch. Finally, it is only available to Mac-based Safari users. No other combination of OS and browser has the translucent toolbar effect for us to take advantage of. For this reason, it's not something I'd want to use for a lengthy period of time. But for one weekend only, here it is.

Visual Audio Display Units (VADUs) still exist in the National Museum Cardiff galleries. We know, because with almost every finger touch on the touchscreen, it sends a little signal to the web server that includes a piece of information describing the last interaction (i.e. ‘please play the video’, ‘please display the menu list’). We record all those messages, firstly to make sure the kiosk is actually working day-to-day and secondly to find out which aspects are popular or not popular, knowledge that is useful to guide future kiosk development. 

Each message is sent as an AJAX call (asynchronous JavaScript and XML) from the kiosk, which is usually a standalone bundle of files running through a web browser (HTML, CSS & Javascript files). The main bulk of the kiosk development is carried out through our in-house web CMS (called Amgueddfa CMS) on a computer that mirrors the public web server, it’s only before the launch that all the necessary files are copied over to the computer in the exhibition space (wrapped up as an ‘App’), where it remains like a satellite away from its mothership (the web server). Beep beep, beep beep.

Patterns of Frequency

A single recorded kiosk command is not particularly exciting by itself but when there are greater numbers, patterns emerge. For instance, if we record each time a video is started on the kiosk we get a round number to how many people were interested in the subject matter of the video (information gathered before they had seen the video). If we also record when people stop playing the video we can start to distinguish patterns in their viewing behaviour. Judging by the average video length played the majority of the visitors saw less than 39% of the total video length, with the longest average being three minutes 17 seconds. Of course, there were also lots of visitors who watch the videos until the end; as you can tell by the 'happy-tail' patterns formed by visitors reaching the film credits at the end of the film (figure 2).  

Overview of the Numbers

I signed-off my last blog with a promise of data relating to the Wi-Fi audio tour during the Chalkie Davies exhibition last year, which I’m including below. To placing the Wi-Fi statistics within the gallery space, I’ve also gathered data from the four large screen kiosks in the exhibition against the monthly visitor figures.

It is immediately clear that the four large kiosks were very popular - they contained a great deal of curated content which included a composite NME magazine, Chalkie Davies film, Youth Forum audio interviews, a comments section and What’s On calendar. I can imagine the relative attraction and easy access of the kiosks goes a long way to explain the comparatively lower figures of the Wi-Fi audio tour, but let us not be downbeat - the feedback received from the visitor survey about the Wi-Fi was positive. 

  • 93% of survey monkey results either felt they ‘learnt a lot about the exhibition’ or ‘it improved their experience as a visitor’ - it must be noted that the number of people who filled in the survey and used the Wi-Fi audio tour was extremely low compared to the overall gallery visitor figures (12 / 42,000), but the survey morsel is still very positive.    

However, I would be cautious in suggesting an Wi-Fi audio tour for short-run exhibitions, mainly due to the diminished numbers compared to the insitu kiosks - the Wi-Fi audio tour could gain popularity following a less exhibition-specific avenue (e.g. providing audio descriptions for the top ten popular objects), which would allow the audio catalog to be built gradually and remain available all year around throughout the museum.

Future Beeps

To conclude, we have been collecting kiosk statistics since 2011. The storage method may change, we could additionally store the data on Google servers via Google Analytics, but however the beeps are stored the way visitor interact with museum kiosks will continue to guide the future kiosk development. 

 

Table showing all the touchscreen events for the Chalkie Davies exhibition with visitor figures for the gallery:

Large touch screen x 4

 
 

Language

7 May

2015

June 2015

July 2015

Aug 2015

7 Sept

2015

Video (film plays)

 

1717

1085

1735

2833

352

7722

Chalkie Interview

EN

1280

1044

1362

1953

338

5977

Chalkie Interview

CY

124

123

164

237

38

686

NME magazine

EN

1209

961

1205

1841

355

5571

NME magazine

CY

60

56

72

148

17

353

NME Next Page

 

1974

2119

2099

2324

530

9046

NME Previous Page

 

1303

1025

1098

1666

463

5555

NME Zoom Photograph

 

985

681

909

1317

430

4322

Music Memories

EN

1409

1076

1464

2311

378

6638

Music Memories

CY

71

60

95

138

17

381

Music Audio (track plays)

 

1766

1583

1806

2410

486

8051

Comments

EN

881

702

840

1383

230

4036

Comments

CY

71

54

78

105

11

319

Comments submitted

 

124

131

168

260

30

713

What's On

EN

783

684

847

1335

241

3890

What's On

CY

55

50

63

126

12

306

Totals

 

12509

10409

12907

18721

3465

63,566

 

Wi-Fi Audio Tour

Using their own mobile devices

 
 

Language

7 May

2015

June 2015

July 2015

Aug 2015

7 Sept

2015

Audio (plays)

EN

316

212

262

394

124

1308

Audio (plays)

CY

10

3

4

4

1

22

Totals

 

326

215

266

398

125

1,330

 

Number Gallery Visitors

 

7 May

2015

June 2015

July 2015

Aug 2015

7 Sept

2015

 

Totals

 

9108

7107

10688

14130

1961

42,994

 

Dyma flog i werthfawrogi gwagle.

Dydyn ni ddim yn cael llawer o gyfle i fyfyrio am ein gwaith, achos ma' wastad mwy ohono i'w wneud. Felly, cyn i mi fynd i'r afael ag ail-wampio'n tudalennau llogi preifat; gorffen paratoi ar gyfer cynhadledd Archif Menywod Cymru a dechre helpu efo tudalennau 'cynnig syniad am ddigwyddiad', dewch i ni eistedd am eiliad a syllu 'mewn i'r gagendor mawr tawel, ac anadlu.

Min y Môr

Neis, ond'yw e? [The Sea's Edge, Arthur Giardelli]

Gan fod 'cadw'n brysur' yn un o'n chwaraeon cenedlaethol, dyw hyn ddim at ddant pawb - ond dwi'n licio'r syniad o bwyso a mesur, aros yn llonydd am ennyd, a gwrando. Mi ddoiff na alwad bob tro: ebost sydd di syrthio lawr cefn y mewnflwch; llyfr 'dych chi wedi bod yn meddwl ei ddarllen ers sbel; neu bydd cyd-weithiwr liciech chi dreulio mwy o amser yn dysgu ganddynt yn taro'u pen trwy'r drws i weld a ydych chi ffansi paned.

Gwerthuso ac Archwilio

Rydym ni'n newid fel adran ar hyn o bryd - bydd dau aelod newydd yn ymuno â'r tîm yr wythnos hon - a rydym ni i gyd wedi bod yn gweithio ffwl-sbîd, os braidd ar wahan, ar brosiectau gwahanol ar y we, mewn orielau, y cyfryngau cymeithasol, rheolaethol, ymchwil a chynllunio.

Mae Graham, sy'n arwain y tîm cynnwys, wedi bod yn cymryd rhan mewn prosiect sector-gyfan sy'n edrych ar fodelau gwerthuso, pwyso a mesur, o'r enw Let's Get Real. Yr wythnos ddiwetha, mi fuodd gerbron y 'Crit Room' ym Mrighton, yn cyflwyno'n gwaith ar gyfer ei archwilio a'i feirniadu. Diddorol a brawychus.

Mae canlyniad y 'crit' wedi bod yn galonogol iawn - roeddwn i wedi bod yn poeni braidd am faint ein rhwydwaith twitter, am fod cost amser hyfforddi pawb yn tyfu drwy'r amser i fi. Ond, cawsom adborth fod hyn yn arwydd da ein bod yn ffynnu ar-lein, ac i boeni llai amdano.

Dwi'n ceisio dilyn eu cyngor nhw, go iawn.

Adborth y Stafell Feirniadu

Tafod allan-o'm-boch, dwi'n hapus efo sut 'dyn ni'n gweithio fel rhwydwaith dyddie 'ma, ac yn falch iawn pan dwi'n gweld pobl yn llamu 'mlaen yn defnyddio'u sgiliau newydd ar y cyfryngau cymdeithasol. Wrth dynnu rhifau at ei gilydd ar gyfer adroddiad arall, fe sylwais ein bod wedi cyrraedd carreg filltir bwysig iawn yn y misoedd diwetha: dros y rhwydwaith, mae gennym dros 125,000 o ddilynwyr. Dwi'n gwbod mai nid o rifau'n unig yr adeiladir llwyddiant ar-lein, ond, dwnim, mae 'na rywbeth tawel, boddhaol am weld rhes o '000'au gwag, cegagored.

Mi gafodd Chris, sy'n gyfrifol am adeiladu seiliau ail-ddatblygiad y wefan (a llawer mwy), a gweddill y tîm, hwb gan y Stafell Feirniadu, hefyd - yn benodol, fod ein harlwy ar-lein yn 'werthfawr iawn, yn gyfoethog ac yn foddhaol'. Alla i ddim peidio â meddwl am goffi pan dwi'n darllen y geiriau yna. Amser i stopio blogio am stopio a dechre stopio am baned.