Introduction
The purpose of this paper is to assess the quality of the web sites devoted to Ontario’s museums. This will be determined by analyzing the chosen on-line museums in relation to a series of criteria that define an outstanding site. The fifteen criteria were determined through systematic searching through museum web sites that were already confirmed to be outstanding by proponents of both the World Wide Web and museums. Also, an extensive literature review resulted in the reaffirmation of the fifteen criteria.
Over seventy Ontario museum web sites exist, but for the purpose of this essay, thirty were chosen and reviewed in detail. The sites that were excluded from the survey were those that were developed to compliment a municipality web site, were created as part of an on-line attractions brochure or whose institutions are archives, halls of fame or historical societies. Those that were chosen represent both large and small institutions which are funded federally, provincially or privately. The types of museums included in the survey range from art, natural history, military, science and technology museums, to zoological gardens, marine museums and historic sites.
A ranking of these thirty sites concludes this investigation. It is likely that the majority of the web sites are good, however, a numerical analysis will ultimately prove this.(1)
What is the World Wide Web?
It is beneficial to begin a discussion on web sites with a brief explanation of the World Wide Web. The World Wide Web (WWW or Web) has been defined as a “global, interactive, dynamic, distributed, graphical hyptertext information system that runs over the Internet.”(2) This sounds impressive, but what does it really mean?
To begin, it is important to break down the above-mentioned definition into sections. First, the WWW cannot exist without the Internet. The Internet is a “loose association of thousands of networks and millions of computers across the world that carry data and make the exchange of information possible”.(3) The WWW is a subset of the Internet and is essentially a collection of documents, or individual pages, linked together to make sites, that are further connected to create an immense pool of information.(4)
These pages, or sites, are created using a hypertext language (HTML or Hyptertext Markup Language), a protocol specific to the WWW. Hypertext documents are not rigid and linear like printed books or papers, but rather they are flexible and self-navigable. One is not bound to read or look at the pages in a set order, but can choose to skip to other topics or information of interest via hyperlinks. These hyperlinks (links), are coded into the Web document using HTML protocol and when clicked on with the mouse, take one to another WWW page or to another spot on the same web page. It is not unusual to start on one page, link to another, return to the first page and again link to other pages or sites.
This linking between sites and pages accounts for what is defined as interactivity. Within this realm, the Web provides a medium for feedback. Pages with fill-in forms or questionnaires and mail-to e-mail addresses comprise another portion of the Web’s two-way communication. In more advanced sites, image maps are another form of interactive media. Image maps are pictures on which hot spots, or hidden links, are placed. Each hot spot link performs a function, either connecting to another site, or instantly completing other motions on that page.
What makes the World Wide Web so appealing is its graphical nature. Graphics and text can be displayed on a page. Recently, the Web has been provided with capabilities for handling sound, video, 2D and 3D animation as well as more advanced graphics. These make the WWW a flexible, dynamic and appealing medium ideal for relaying information.
Finally, the distribution of the Web refers to how the data held on the Web is global, rather than particular to one person or network. Information is held on thousands of sites across the world and each site contributes a portion to the WWW. Because data is stored in many places and not just on one site, the pages can be updated individually without great difficulty or cost. It is not one person’s responsibility to keep the Web updated, but rather thousands, if not millions, are charged with its upkeep.(5) This in turn makes the Web dynamic. To contribute to the Web’s dynamic nature, new web sites are created and old ones are being updated so that the Web is never stagnant.
However, the World Wide Web has its drawbacks. Information on the Web cannot be considered completely accurate because currently there are no strict guidelines for what can be published on-line. Another problem is the level of quality among sites. Some sites are good, some are bad and some fall in between. A significant portion of this paper is devoted to making those who design web sites aware of what criteria determines an outstanding site in hopes of increasing the standard of quality.
Why Museums and the World Wide Web?
The important question is why should museums get involved with the World Wide Web. Let us recall the definition of the WWW according to Laura Lemay: “The WWW is a global, interactive, dynamic, distributed, graphical hypertext information system that runs over the Internet”. 1997 statistics show that 40% of Canadian homes, or 4.2 million people, have personal computers. Of these, 13% or 1.5 million of Canadian homes are linked to the Internet.(6) More complete statistics from 1994 show that 25% of Canadian homes had personal computers, 34% of those had modems and 17% of the Canadian population had used the Internet.(7) These figures do not account for the number of computers with a
connection to the Internet in Canada’s primary to post-secondary schools or places of business. These numbers are growing daily as the price of personal computers and Internet access decreases and more people are given the opportunity to get on-line, either through public libraries, Internet cafes or other venues. Millions of people are therefore accessing information on the Web by searching through the on-line databases, reading Web published articles and even looking at museum sites. This provides proof that museums should be involved with the World Wide Web.
Much has been written by museum directors and other enthusiasts of the World Wide Web on behalf of museums. In the opinion of most, the Web has the unique ability of reaching a wide audience in a relatively cost-efficient way.(8) Through the WWW, museums can make accessible to others a “phenomenal array of resources that can be explored with simple point and click skills”.(9) Such information usually includes summaries of current curatorial research, educational programmes, virtual exhibitions and data on the collection. As well as the institution’s policies on collecting, deaccessioning and conservation. Ideally, museums should use web technology to invite virtual visitors to view the “behind the scenes of the museum”, specifically those areas which are not readily available to visitors at the actual museum or gallery. The on-line museum would provide the growing number of web users, ranging from the academic to the casual surfer of any age, the chance to experience cultural institutions
in another way.
Although a museum’s presence on the WWW does not insure an increase in visitors to the physical museum, it does ensure that more people are aware of its existence. However, if the on-line version offers a “clever and dynamic interaction between the physical and virtual offerings, [it] should stir people from their [computer] monitors”.(10) The web sites, if properly equipped with the appropriate information, should also motivate and inform visitors so that they can best plan their time when visiting the museum building.(11)
There is also a financial benefit to having a museum web site. On-line sponsors are one way in which the institution can make money from the WWW. Other money-makers are the gift shop, membership information and applications. By having merchandise displayed on-line and interactive order forms on the site, customers can purchase museum items over the Internet. Memberships also generate revenue for the museum and having an application on-line helps this process.
The Web also allows museums to gain information from the public who visit their on-line space. Feedback from these visitors, usually in the form of e-mail, may include ways in which to improve both the actual museum space or on-line version as well as compliments or criticisms regarding the institution’s activities. These letters provide a valuable source of information for all involved, from the director to security staff.(12)
Most importantly, a presence on the WWW increases the potential to raise the overall profile of cultural heritage organizations. Museums are then perceived in a new light in the eyes of the new type of museum visitor, those of the virtual kind.(13)
Criteria for making an outstanding World Wide Web Site
The World Wide Web consists of millions of pages that comprise a multitude of sites. Themes vary as does the quality of design, execution and information provided. Although many web sites are considered good, others are poor and only a few outstanding. The key to the success of outstanding museum sites, as compared to those that are not as successful, is a series of essential criteria. The next section outlines those that assist in making a museum web site outstanding.
Content
First and foremost, “content is king”.(14) Regardless of the quality of design, including graphical interface or multimedia effects, the documentation that comprises the site is of the utmost importance. The information provided by the institution must be substantial so as to encourage the virtual visitor to explore the intricacies of all the pages. The viewer must be challenged and inspired, enough so as to motivate return visits.(15) The documentation developed by the museum, should strike a balance between scholarly research, geared toward the serious academic or professional in the field, and information for the casual Web surfer, of any age, sex or background.(16) The data provided should be more than simply a brochure of the institution’s history, policy, location, admission prices or exhibition calendar. The content should include an introduction to current research conducted by the museum staff and inventories of the collection. Included in this should be substantial and detailed descriptions of individual objects as well as successful and rewarding hyperlinks to related topics.(17) The site must allow the public to use the data provided in analysis and comparison, both within the museum context and outside.(18) If the information presented is of insufficient depth, then it is not worth revisiting. Ideally, alongside the inventories of the collection, a museum web site should also include a retrieval system that includes data on specific objects in the institution’s holdings. This data should be detailed, informative and pertain to the artifact itself.
The sites that best fulfill the criteria of outstanding content are considerably few among the thirty surveyed. Buxton Historical Site and Museum provides its on-line visitors with a wealth of information about the museum as well as a plethora of links to other pages concerning the slave trade, the Underground Railroad and fascinating topics related to the museum.(19) Other sites whose content is outstanding are the Art Gallery of Ontario, the McMichael Canadian Art Collection and the Canadian Museum of Science and Technology which all go beyond rudimentary information.(20)
Educational Value and Useful as a Resource
Content is essential, but how it is given is another important issue. Information should be presented to the virtual visitor so that it is both useful and serves an educational purpose. A question every Web site co-ordinator should ask of their site is what can one learn from this site. Information should allow the visitor to delve below the surface, unearthing layers of knowledge about the museum’s collection, staff and mission, rather than simply scratching the surface of what the institution has to offer. The site should also promote active student-centered learning along with real world problem solving.(21) The information should be useful to researchers and casual visitors alike and provide relationships between objects, people and events in history.(22) The Royal Ontario Museum does an outstanding job at this.(23) This site combines educational material with documentation concerning the museum itself.
Interactivity and Two-Way Communication
The interface of the World Wide Web allows for what is termed interactivity. Through HTML coded hyperlinks, multimedia displays, as well as on-line forms and questionnaires, a virtual visitor can become a participant in the web site itself. By filling in the forms and clicking on links, one can customize the virtual museum experience to suit one’s abilities and interests. A static site, one that does not include any of the above-mentioned interactive media, cannot be completely successful. Simply moving from page to page is not enough. However, when one plays a part in the progression of information as the role of navigator, learning is stimulated and knowledge increases. This is what one strives for when building a site. Activities which solicit active participation are necessary not only to increase the status of the site, but also to increase the pure enjoyment as well. The Canadian War Plane Museum includes a flight simulator which the visitor can download and use.(24) The best site for interactivity is the Ontario Science Centre.(25) In its “Interactivity Zone”, the Science Centre provides a variety of activities using state of the art Shockwave multimedia effects. On-line games, puzzles and optical illusions are only some of the activities in which one can participate.
Feedback is also an important aspect of a web site’s interactivity and fulfills the criteria of two-way communication. Feedback methods range from simple mail-to e-mail forms, to elaborate coded ones. In the latter, visitors electronically submit a form using pre-determined answers from pull down menus.(26) Allowing a virtual visitor to comment on the state of the on-line museum or even on the physical site, forms a relationship between the museum and the viewer. The National Galley of Canada has outfitted its site with elaborate feedback forms. These forms appear after virtual tours of the various galleries and the questions are geared toward the content which was presented.(27) Most web sites do offer feedback opportunities, however they choose to use the simple mail-to method, in which an e-mail message is sent to a webmaster or another member of the museum staff.
Another less frequently used method of two-way communication is through chat groups and computer conferencing. Out of the thirty sites surveyed, only the Art Gallery of Ontario uses on-line discussion groups. One discussion was the “Edvard Munch Discussion Forum”. Here, visitors participate in a conference where they can read responses and contribute to the discussion on questions pertaining to the themes in Munch’s art works: love, death and relationships. This is an effective form of interactivity that fulfills the desire for two-way communication. In the future, more museums will be using this method to include their audience in the site itself.
Visual Appeal
The commercial success of the World Wide Web lies in its ability to display graphics and present text in a more colourful environment. The visual appearance of the museum site weighs heavily on its success. However, spectacular graphics or dazzling multimedia effects come with a price. The associated cost for these high-tech graphical interfaces forces many museums to reconsider the way their site looks. It is for this reason that not all the sites surveyed take advantage of the Web’s ability to display graphics. Nonetheless, many use colour, marginal multimedia effects and images to their fullest advantage and to the best of their available abilities.
Once again, the Art Gallery of Ontario uses an array of technologically superior graphical interfaces in its site. Animation, high quality images and advanced HTML coding make the AGO’s site visually outstanding. Also appealing are the pages assembled by the McMichael Canadian Art Collection and the Burlington Art Centre.(28) Both sites use striking graphics that compliment the content of their pages.
Format
Format deals with the elements of design and the logistics of the site. Such format questions include; has the site been created avoiding the highest common technical denominator? Do all the images load quickly and have “alt tags” (alternate text for the images)? Is the site broken up into smaller pages rather than long scrolling ones?(29) Is the site coherent, do all the pages flow naturally together with a consistency of design?(30) Also, is the site creative, does it speak in a different voice than the physical institution or does it mimic it?(31) Finally, the innovation and elements of surprise are both an asset.(32)
On the negative side, The Ontario Science Centre, has images and interactive media which take too long to load and are above the common level of technology. Yet, these elements are innovative and surprising, especially in their “Interactivity Zone”. Animated graphics, video and sound are attractions which make the site successful.
Audience
When a museum is creating a site, they must anticipate who will be using their on-line resource. It is simple to design a site specifically for the mature visitor or solely for children. It is difficult, on the other hand, to create one site for both types of visitors. It remains even more challenging to create one that takes into consideration the intellectual levels of the audience. Most of the sites surveyed were successful in designing their pages to suit one type of audience, but few were able to do so for both. The sites that are successful in catering to both sides of the spectrum are the Komoka Railway Museum and the Canadian Museum of Science and Technology.(33) The former site provides a “Kid’s Corner” where children can download train sounds, play “Name that Engine” and fill in a crossword puzzle. At the same time adults can learn more about trains from the detailed documentation and answer “Train Trivia” questions. The Canadian Museum of Science and Technology provides documentation suitable for both children and adults. In this site, scientific articles are featured as well as other sources for fascinating facts. The Royal Ontario Museum also does a commendable job in including all types of visitors.
Dynamism
It is important for the museum’s web site to evolve in the same fashion as thle actual institution.(34) When a museum changes its exhibits, objects are added to the collection and interesting research is done by the institution’s staff. The web site should reflect all of these developments. A site that is considered dynamic is one that is updated frequently and is enhanced with new features. These could be included in a “What’s New” page which lists up-coming or current exhibitions and events. If any additions are made to the Web site, notice should be taken. Essentially a site should be in a cycle of continual evolution.(35) This movement instills in the visitor a curiosity and a desire to return for another virtual visit, which is the
main objective of all museum Web sites.
The Art Gallery of Ontario satisfies the dynamic criteria. For instance, the image on the home page changes every time it is accessed and a section is dedicated to “what is new” at the AGO. However, the majority fall short of this standard. These sites fail mainly through their lack of updating. Many include outdated exhibition calendars and schedules of past events. The best examples are those which update on a regular basis and remove old events from the calendar. Examples include the Justina M. Barnicke Gallery at Hart House which lists upcoming exhibitions as well as current ones. The Webmaster at the Marine Museum of the Great Lakes also frequently updates the site.(36) Both are careful to say when the pages were changed in order to make the visitor aware that alterations have been made.
Pre & Post Visit Programmes
A role played by a museum web site is to advertise educational programmes which the education department organizes and offers to both children and adults. Having an on-line listing of what is offered is one function of the site. But of even greater significance is providing pre and post-visit activities which compliment museum programmes. Teachers, parents and interested individuals can use the ideas proposed by the education department to prepare for an upcoming visit to the actual institution or to supplement what they have already learned. Some possibilities include vocabulary lists, science experiments, history lessons and arts activities. Quizzes and games are also acceptable and appreciated.
Unfortunately, few web sites include pre and post-visit packages, although many include a listing of what educational programmes are offered by their institutions. The Art Gallery of Ontario, the Canadian Agriculture Museum, the Canadian Museum of Science and Technology, and the Canadian War Museum all provide lesson plans, activities and ideas on-line.(37) The Earth Sciences Museum, Joseph Schneider Haus, the Marine Museum of the Great Lakes, the McMichael Canadian Art Collection, National Gallery, Ontario Science Centre and Sainte Marie Among the Hurons all list education programmes.(38)
Behind the Scenes
A museum Web site offers the on-line visitor a unique opportunity to explore areas of the institution that are not generally open to the public. Such areas are the curatorial departments, marketing and public relation departments, conservation, storage and even the director’s office. Again, not many sites provided access to these behind the scenes areas.
The Art Gallery of Ontario is one that tries to open its various departments to the public. The director, Maxwell Anderson, is a strong supporter of museums and the WWW and his interest makes itself clear in the AGO’s site. His e-mail, as well as the e-mail addresses of all the other departments at the gallery are listed so that questions and comments can be fielded to the appropriate areas. The Canadian Museum of Science and Technology also presents information that is not readily available to the museum visitor. The conservation, restoration and curatorial divisions share their current and past projects. This invitation to go behind the scenes increases the desire to visit the physical site.
Memberships and Volunteers
It is beneficial for a museum to include both membership and volunteer information, since both are vital aspects to the upkeep of the institution. Membership information attracts financial support and volunteer information attracts personal support. In the thirty sites surveyed, membership information was included more frequently than volunteer information. For the most part, documentation was readily available about memberships as was information on volunteering, though mostly without an on-line interactive application. Commendably, some sites include print- out forms along with fax numbers and telephone numbers so that museum personnel can be contacted. The Tom Thomson Memorial Art Gallery provides
more sophisticated electronic membership and volunteer application forms.(39) The Art Gallery of Ontario also provides this method of application.
Museum Shop
Including the Museum Shop in a museum’s WWW site is an important feature. As mentioned previously, the Museum Shop generates revenue for the institution and acts as a marketing vehicle as well.(40) By advertising what the shop has to offer, it is likely that more virtual visitors will make a trip to the museum building.
Of the thirty sites surveyed, more than half include information about their gift shops. Less than half of these have listings of what their shops offer. The Tom Thomson Memorial Art Gallery and the Art Gallery of Ontario give the option of purchasing gifts through on-line forms. The Canadian Museum of Science and Technology, Canadian Museum of Agriculture, the McMichael Canadian Art Collection, National Aviation Museum, National Gallery of Canada and the Royal Ontario Museum provide a listing of what is offered at the institution, however on-line forms are not included.(41) Instead, one can print out forms or use fax numbers, phone numbers and mailing addresses.
On-line Sponsorship
On-line sponsorship, like “Behind the Scenes”, is under-represented in the thirty sites surveyed. Only eleven out of thirty museums include sponsors, corporate or private, who had given support to the museum or to the on-line resource. Out of the eleven, only two include the logo of their corporate sponsors as well as links to the corporation’s web site: the McMichael Canadian Art Collection and the Art Gallery of Ontario. Other sites that include the names of their sponsors are the Art Gallery of Sudbury, Burlington Art Centre, Buxton Historic Site and Museum, Canadian Museum of Agriculture, Canadian Museum of Science and Technology, Canadian War Museum, Canadian War Plane Museum, HMCS Haida Naval Museum, National Aviation Museum and the Ontario Science Centre.(42)
Encourages Visits (Real time and Virtual)
This final criteria is admittedly a subjective one. Ideally, an outstanding museum web site should increase the desire of the virtual visitor to go to the physical institution. One’s desire to visit a museum depends on personal interest and not on the quality of the site. However, there are some exceptions. The Buxton Historic Site and Museum presents such intriguing content that a physical visit would only enhance the information provided. Also, the Ontario Science Centre’s interactive Web site whets an appetite for the activities at the actual site.
Analysis and Recommendations
The following discussion is based on the quantitative analysis of the thirty Ontario museum Web sites as seen in Appendix 1 and 2.
Content
Many of those who created the surveyed web sites realized that content if vital. However, a large portion of the sites surveyed (73.1%) stop short of delivering outstanding content. Instead of concentrating on the visual effects, more attention should be paid on its effectiveness: what is the site trying to do? Or what can one learn? More information must be included, such as information on the collection, exhibits and the programmes offered. Documentation that is out of the ordinary is also important; such as novel research or intriguing stories. The summation of these elements is an interesting collection of pages that provide an informative introduction to the museum.
Educational Value and Useful Resource
For the most part, museum web sites have an educational value and are a useful resource. 40% of the sites surveyed do attain a general level of learning and provide special information about the museum itself. Sites fail for they do not relate educational information back to the museum itself. What must be improved is the level of learning and the relevance of the information provided. This will help move the remaining 46.6% of “poor”, “average” and “good” sites to “outstanding”.
Interactivity
56.6% of museums created sites with excellent to outstanding interactive abilities. The remaining 43.4% should continue adding links, quizzes, on-line forms for feedback, and activities that the visitor can participate in.
Two-Way Communication
In order to improve communication between the on-line museum and the virtual visitor, more feedback forms are necessary. E-mail is not sufficient. With electronically deliverable forms, specific questions can be asked by the museum on relevant topics. Direction is necessary and ideal. It is unfortunate that such a small portion of museum web sites realize this.
Visual Appeal
Unsuprisingly, all of the web sites were aware of the need to be visually stimulating. Nonetheless, a disappointing number (43.3%) were only good.(43) More colour and graphics, as well as a better organization of material, would help many of the sites reach a greater level of appeal. Simple background colours and eye-catching graphics can improve the site significantly. High-tech multimedia effects are not always necessary and in certain cases they can be a hindrance.
Format
Keeping the format simple and consistent is the key to success. Unfortunately, many of the sites surveyed were little more than average (43.3% were good). Greater consistency between pages can be achieved through a constant colour or graphic scheme and organization. These are simple goals to meet which do not require much skill.
Audience
The WWW is attracting a great number of younger users. 45% or 1.7 million Canadian homes, with children under the age of 18, have personal computers. 20% of these families are surfing the Internet.(44) Therefore, creators of museum sites must take into consideration the type of person who will be exploring the site. The results show that a great many (83.3%) take both adults and children into consideration.(45) For those that do not include both age groups, improvements must be made. For example, a few activities and programmes can be added for children, while content for adults is not neglected.
Dynamism
Change is necessary. A disappointing number of the thirty sites (86.7%) were below standard. Sites should be updated often, once a month if possible and include a “What’s New” section so that visitors are encouraged to return. Understandably, many museums do not have the financial abilities to update a site frequently, but, a seasonal update should be possible.
Pre & Post Visit Programmes
50% of the thirty museum web sites did not provide activities that could be completed by children and adults before or after an intended programme. This is a poor showing. It is easy to add a activities which would prepare visitors so that they could learn more from the on-site programmes offered by the museum. Education departments could easily provide vocabulary lists, quizzes and arts and crafts ideas to complement their programmes.
Behind the Scenes
One of the unique potentials of a museum WWW site is to show what goes on behind the closed doors of the curatorial wing, conservation lab or storage room. Without compromising the privacy of staff, sensitive objects or security, visitors can see what happens behind the scenes. Current curatorial research, on-going conservation projects and unusual artifacts are ideal content for a web page. The high number of museum sites surveyed (63.3%) without any behind the scenes is disappointing as this area has potential and is available to all museums.
Memberships and Volunteers
Someone may visit an on-line museum to find out information about the institution, including memberships and volunteer possibilities. 40% of the sites surveyed did not include either membership or volunteer information. This is surprising because every museum brochure has this information and its inclusion on a web site is a simple addition. An on-line application form for both memberships and volunteer information is ideal so that the process is hassle free and quick.
Museum Shop
Much like the previous section, the virtual Museum Shop was highly under-represented in museum Web sites. 36.6% of sites did not even mention the existence of a shop. On-line shops are revenue builders and can boost profits so as to maintain the web site. If purchasing on-line is not an option, what merchandise is available at the shop should be outlined.
On-line Sponsorship
Even more disappointing, is that 60% of sites did not include a listing of their sponsors. What better way to create a web site and maintain it than through sponsorship? Sponsors may include those who donated money to the museum. Only 39.9% of the 30 sites surveyed mentioned their sponsors, and only two sites included their sponsors’ logo. This is definitely an area which needs improvement.
Encourage Visits (Real time and virtual)
As previously mentioned, this is a subjective element. However, if all of the above-mentioned criteria are met, the likeliness of an increase of visitor attendance to the actual museum is probable. At the very least the number of visitors to the virtual museum may rise.
Conclusions
It is clear from the scores of museum web sites that institutions feel the need to be present on the WWW. In all cases, the director or administrator felt it necessary to have a presence on the Web in hopes of attracting a greater audience, to increase visitation as well as to satisfy a growing technological trend. However, many were unaware and unprepared for the task of creating an effective site. In almost all cases, essential elements which help determine an outstanding site were not included.
This paper outlines in numeric form the percentages of Ontario museum web sites that fall into each category: either outstanding, excellent, good, average or poor. Of the thirty web sites surveyed, few are of poor to average quality. The majority are in good to excellent condition while a few are of outstanding quality. This is what was predicted at the start of the investigation. The method by which this was determined is as follows:
0 to 15 points = poor
16 to 30 points = average
31 to 45 points = good
46 to 60 points = excellent
61 to 75 points = outstanding
None of the thirty web sites are poor, four are average (13.3%), twelve are of good quality (40%), nine are excellent (30%) and five are outstanding (16.6%).(46) These results are not indicative of the all web sites of Ontario musuems, however it is likely that this trend would continue with a larger sampling.
With some luck and a greater shared knowledge of what determines an outstanding Web site, many of the average to excellent Ontario museum sites can improve. Resources allotted to web page creation must increase to ensure greater dedication and appreciation of the WWW. People trained in web design and those who collect data must work together to achieve a higher standard of on-line information and visual appeal. Creative energy must be spent in order to attract more repeat visitors. Simple pages with basic information are valueless. Virtual visitors are ready and waiting for more. It is time to let them discover what Ontario’s museums have to offer.
Appendix 1
Quantitative Analysis
This section is comprised of a quantitative analysis of the thirty museum WWW sites surveyed. The methodology of this analysis is as follows:
1) Each criteria was graded on a scale of 1 to 5.
0 = not available
1 = poor
2 = average
3 = good
4 = excellent
5 = outstanding
2) Each number signifies a particular set of qualities for each criteria. They are as follows:
Content
0 = no information available
1 = poor: simply hours, location, fees
2 = average: general museum information plus some added data
3 = good: information on the collection, programmes, exhibits
4 = excellent: in depth data on collection and museum
5 = outstanding: substantial data on museum, plus usually confidential information
Educational Value
0 = no educational value
1 = little can be learned from this site
2 = some educational value
3 = a fair amount of historical data and points of interest are discussed
4 = great deal can be learned from this site
5 = a wealth of information
Useful Resource
0 = no use whatsoever
1 = useful only as brochure of museum: location, times, fees
2 = more than simple brochure: background data included
3 = good source of information: educational
4 = provides special information on the museum
5 = special data plus a wonderful learning tool
Interactivity
0 = no interactive links, e-mail, fill-in forms
1 = few links
2 = links, e-mail
3 = many links, e-mail, on-line questions
4 = many links, e-mail, quizzes, programmes
5 = same as #4, but extensive e-mail lists, on-line forms and quizzes
Two-Way Communication
0 = no form of communication
1 = phone communication only
2 = phone and fax communication
3 = e-mail communication plus phone and fax
4 = e-mail, phone, fax, on-line forms (no questions provided)
5 = same as #4 plus extensive e-mail lists, on-line questionnaires
Visual Appeal
0 = no appeal what so ever
1 = dull, lacking in colour, unappealing
2 = lacking in graphics, lacking in creativity
3 = acceptable amounts of graphics, colour and creativity
4 = very pleasing to look at, uplifting
5 = Out of this world!
Format
0 = no formatting, inconsistency through pages, not user friendly
1 = some inconsistency through pages, not user friendly
2 = consistency in pages, but not user friendly
3 = consistency in pages, user friendly
4 = consistency, user friendly, compatible with most technologies
5 = same as #4, but compatible with all technologies
Audience
0 = audience not taken into account
1 = very one sided
2 = taking audience into account marginally
3 = taking both children and adults into account, but not abilities
4 = equal to both children and adults and aware of abilities
5 = goes above and beyond taking everyone into account plus the community is included
Dynamism
0 = stagnant site, no dynamism
1 = few changes, updated in 1997
2 = more changes, updated in Fall 1997
3 = updated recently
4 = 1998 schedule of events is up, updating consistently, action
5 = action, constant change, What’s New section
Pre & Post Visit Programmes
0 = no mention of programmes
1 = mention of programmes in passing
2 = mention of programmes as museum activity
3 = lists education programmes, workshops
4 = lists programmes at museum plus offer links to other sites of interest
5 = same as #4 plus offers on-line programmes for the classroom and home.
Behind the Scenes
0 = no glimpse of behind the scenes
1 = no mention of conservation, acquisitions policy
2 = no details
3 = mention of museum policies
4 = museum policies plus media releases
5 = same as #4 plus current research and projects in conservation and curatorial departments.
Memberships and Volunteers
0 = no mention
1 = mentioned but no additional information provided
2 = mentioned with limited information
3 = separate section plus information on levels of memberships
4 = same as #3 plus print out application form
5 = same as #3 plus on-line application form
Museum Shop
0 = no mention of shop
1 = no mention of shop
2= mention of shop, but no details
3 = shop advertised with some gift items
4 = same as #3 plus mail in order form
5 = same as #3 plus on-line form
On-line Sponsorship
0 = no on-line sponsorship
1 = no on-line sponsorship
2 = no on-line sponsorship
3 = mention of sponsors
4 = special thanks to sponsors for exhibitions
5 = sponsors logo on site plus links to their sites
Encourage Visits (Real time and virtual)
0 = no desire to visit the Web site or museum
1 = little desire to visit the Web site or museum
2 = if convenient, would visit museum and Web site
3 = would be interesting to visit
4 = definitely visit site again and see the museum
5 = without a doubt visit both, repeatedly
3) After all thirty sites were graded according to the criteria of step 2, each criteria was separated and analyzed individually. For every criteria the number of 0, 1 and 2-5 were added up to produce a total number for all the sites. Once this was done, a percentage was calculated (for example, 4 out of 30 X 100 = 13.3 %). These percentages help to determine how the criteria have been used by the thirty sites surveyed. By using these percentages, it is possible to pin point where an improvement is needed. For
example, it is evident that a larger number of museums should include a Behind the Scenes section and sites should include Pre & Post Visit Programme packages as over 50 % do not. Further analysis and recommendations follow.
Appendix 2