Welcome! Please introduce yourselves.

To begin, I’m Linda Norris, Global Networks Program Director at the Coalition, and co-faiclitator of this webinar with Braden.

Hi! We're a group of people from the Minnesota Historical Society

We will have 3? 4? people

Hi, I’m Joan Baldwin, Curator of Special Collections @ Hotchkiss School

Hi all! I’m Jenna from the Shingwauk Residential School Centre at Algoma University

Hi, I’m Chris Graham from the American Civil War Museum in Richmond, Virginia. I should also have 3 or 4 people here in a minute.

Hi! Maddy Bifano from the Shingwauk Residential School Centre at Algoma University

Good morning! I'm Brandice Nelson, curator of the map collection at the Texas General Land Office

Hi, I'm Silvina Fernandez from the US Holocaust Memorial Museum in DC.

Thanks, great to be here.

no sound

No video/audio for me--state computers don't come with webcams, I'm afraid!

i am not hearing you

Our video isn't working well, although we can hear fine!

Context?

Explain what visitors are looking at

To orient visitors to our message

One of many ways to connect with visitors

Original owners of artifacts/items

Other than for obvious reasons, labels help people get into the ‘emotional’, ‘presence’ of the exhibit for those who might be more comfortable with binary receptabiity.

i am deeply sorry. i am not hearing from anyone

it is ok now

Who’s the artist? When created? Part of some larger movement? Who’s the guy? What’s the ship?

How does it make you feel?

Man queuing up to bring horses to Noah’s boat.

c. 19xxx, some Impressionist artist p that is the know

Just being hypothetical here.

Know - style of painting, medium, scene depicted, id of subjects

Feel - Notethe trepidation here? What would he be feeling this and what is the artist conveying here?

Feel - what time period was this painted in/what was going on in it's source country that a biblical scene would be ideal

Do - what would you do if you ran into someone with this same facial expression?

DO and feel - imagine yourself beginning a journey to an unknown. Have a friend draw a picture of your fa=cial expression.

And share with you. What do you two discuss

And, reverse the roles.

We have two items for feel— First, the man from a distance looks like a china doll but he’s engaged in sweaty back breaking work. Second—the closer you peer into his face the more troubled he looks. Why his he looking away from this work and what is he looking at?

It’s interesting some see this as a journey and not as an example of work.

Post to museum’s Instagram photo of themselves at work?

Encourage people to think about/ look for our relationship to animals and the land/ earth today when they leave the museum...

Yeah, we’re also dwelling on the nature of work then and now

DO - were I to continue with my ‘ypothetical’ interpretation I might ask folks to talk to farmers, those working with animals

i am going to leave you because i am in the family of former vice president of avipa who dies Yesterday

later i will see the conversation

yero djoulde Diallo

he was vice president of 2009 victims association

avipa

As the sun rises, I wait to find my fate.

PoC’s last location where last words are written before death

This may be my last room. Certainly, my smallest.

From my bunk, I pick paint in the shape of continents.

How many people waited here before me?

Was told to sit. Picked at the paint. Finally gone.

“Stupid decision” my head echoes as doors clang shut.

It’s morning; feet stamping, guards yelling, this is life now

I loved trying to say less.

It's difficult not to describe the scene--getting out of that "know" mentality is hard!

I love Christopher's last room story -- it made you think about the before and the after

well…. we follow your instagram

Relate to Kati’s humour - challenging and tricky when describing tragedy - which she does nicely

We're working on a mapping the US exhibit and one of my concerns is to break out of the standard "here's a map with some stuff on it" labels we've done in the past. We are also hoping to make the exhibit bilingual, which limits the amount of text we can include. I want to talk about the maps, but also how the process of mapping US territory took place and who it impacted. But I have to do all this in around 65 words!

Linda your audio is breaking up

It's about the colonialists and their book

After reading the label it does give pertinent facts, but doesn't give Native Americans any agency. It just sounds like a project that was done TO them.

How the Europeans see the indigenous people

Can you bring someone (or several people) from a local Indiginous tribe or two to look at this story and discuss with them how they'd frame their own narrative?

You could even use some of their verbatim responses in your exhibit.

IN keep ing with the 10-word exercise, I wonder whether having a title would help channel the reader to your/the exhibit’s intention.

I should also mention that because I work for a state agency, there is a political element which is... difficult to work around sometimes with contentious subjects.

Your audio is messing up again

Can’t hear you

Whistling

that is....interesting.

That's such a good idea!

A for effort, but that is really hard to read on a literally reflective surface

Just returned - today - from BA; saw this. Amazing and, yes, easier to read in person. Difficult to convey and present to others via photos.

I wonder about a[eop[le

s opinions of font.

Helvetica? Good contrast to the pink script.

I find myself preferring the main one seen here - easier to read; fewer ‘squiggles’. What do others think?

Are there books you recommend? I'm fairly new to SoC so if you have publications on this topic that would be great!

Thanks!

there are tonnes of research on serif vs sans serif

AASLH did a technical leaflet a few years back on writing 100 word story labels which might be a good tool for this type of empathetic storytelling, but y’all probably already know this!

Thanks for a great conversation!

Thank you!

Thank you!