So, as John said, the question at hand is: how do you wow the un-wow-able without alienating the familiar? It's a tough question, and here at Cogapp it's our job to try and answer just that question. We understand better than most the phrase "appropriate technology" - when to hide technology, and when to show it; how technology can be used to enhance an exhibition without overwhelming it. Ever since we developed the first museum interactive almost twenty years ago (in the form of the National Gallery's Microgallery) we've been creating new technology and developing new ways of implementing it; advanced hardware and software deployed behind an intuitive user experience is what we do. We're constantly trying to find new and exciting ways to do it. From creating award-winning vivid and instinctive installations for the Great North Museum, to bringing Prudential's corporate archive and stories to life with expansive sheets of Holopro glass, pushing the envelope is never off our radar.

I attended the BBC Knowledge Multiplatform briefing day yesterday. The strategy outlined by Simon Nelson and others thankfully counteracted the soporific effects of being located in an airless room in the bowels of Broadcasting House, as the sun beat down on the London streets (it ain’t called the ‘big smoke’ for nothing).

Here are the highlights:

On ‘Permanence’ – Signalling a radical shift from the ephemerality of the linear broadcast slot, the BBC now has a system to automatically generate a permanent web page for every programme episode which, over time, can be further enriched with ratings, recommendations, synopses, AV, track listings and so on. As well as prolonging the life of the content beyond transmission and making it findable and linkable, the system has released time and budget previously spent on often rapidly pulled together and under-performing programme-related sites.  It’s currently in its beta version - visit it here.

So far so good; I can find out more about that track I liked in last week’s Mad Men for example. But what is so much more exciting is the prospect of applying the same system to the BBC archive – tens of decades of radio and television content opened up and made findable, shareable and mashable. Of course, as with most BBC projects of this scale and ambition – from the launch of BBC Two through expansion from terrestrial to digital in the late 90s to the launch of the iPlayer in late 2007 - the usual debates around public service and commercialism will no doubt rage.

Will the content be free at the point of use? Will it be limited to British people as licence-fee payers or made globally available but at a fee to non-UK residents? How might the release of such content impact upon the broader commercial market? These are just some of the potential areas of contention. I assume the findings from the Creative Archive pilot will feed significantly into the BBC’s thinking from here.

We like art.

You’ll probably be quite quick to point out that given our long history of working with museums and galleries, this isn’t the most surprising of statements; but it’s true.

Last Saturday saw Brighton's first Outdoor Gaming festival (a.k.a. BOGfest), organised by Richard Vahrman, COO of innovative GPS-gaming company, Locomatrix. The day featured a variety of games, mainly featuring mobile phones, so I thought what better way to contribute than to resurrect the Hunt the Wumpus game that I originally created to demo at Brighton Barcamp back in 2007.

For those of you unfamiliar with the game, the idea is to navigate around a series of interconnected rooms and to shoot the Wumpus before he eats you, all while avoiding other hazards such as giant bats and bottomless pits. The original 1970s version was entirely text based, but my updated version uses a series of Quick Response (QR) barcodes to represent each room in the maze. Players scan the codes using a camera phone, and are given clues on their telephone handset.

In its first incarnation I printed these codes out on stickers, and created a cave on a roll of wallpaper. For BOGfest, however, I thought it needed to be much bigger, so I regenerated the codes on A3 sheets of paper (all hail OpenOffice, which, because of its XML format, allowed me to automatically generate the document instead of manually inserting all the graphics). I then enlisted the help of my sons to stick these bits of paper on a 10m x 10m area of Hove promenade, and to draw the rooms and tunnels in coloured chalk.

Then it was just a case of helping people get the barcode software running on their phones (or just lending them one of the Cogapp R&D handsets) and letting them get on with it. During the afternoon dozens of people played, and it was fascinating to watch their reactions: everything from extremely skeptical ("what are you selling? How much does it cost to play?") to the extremely enthusiastic ("this is a lovely idea").

On Wednesday I attended a one-day seminar at the excellent Dana Centre. Organised by Museum ID, it focused on the cultural sector's use of social media, broadcasting and the web, with lots of concrete examples from UK museums and heritage organisations.

The day started with a presentation from John Stack, Head of Tate Online. In it, he emphasised the need for a two-way dialogue between museums and their audiences, and provided several concrete examples of when the Tate has done exactly that with regard to tying in with physical exhibitions. These projects included: How We Are Now, where visitors were asked to contribute photos to a Flickr pool, the best of which were exhibited in the gallery; Tate Tracks, with visitors contributing their own artwork-inspired audio; Street or Studio, where the best contributed photos were made into a limited edition book; and finally a short-story competition to tie in with the TH.2058 exhibition in the Turbine Hall, with the best entries made into an audio podcast narrated by ex-Dr. Who Christopher Eccleston.

Next up was a presentation by Adrian Arthur, the Head of Web Services of the British Library. He outlined some of the BL's experiments with social media such as Facebook, Twitter, Youtube and podcasts, as well as their experience in opening up their sound recording archives to user generated content such as tags and annotations. Then he emphasised the need for cross-departmental cooperation in achieving the goal of disseminating the two key strengths of the library: its enormous amount of content, and the expertise of its curators. His colleague Clive Izard, Head of Creative Services, then took over to discuss the changes in both technology and user expectation which will be instrumental in shaping services in the future. As part of this he demonstrated some innovative and exciting ideas for researcher tools, including a rich multi-tiered interface that can provide for both lay and specialist audiences, and which could incorporate cutting-edge visualisation techniques alongside original source material (e.g. a 3D terrain view, synchronised with historical maps).

The Internal Blog continues to provide Cogappers with a distillation of the somewhat crude and slippery substance that we know as the World Wide Web.

At the end of last year I went up to London to see Sanky from AllofUs do a president’s lecture for D&AD. A self described veteran of the digital era, previously from the agency Digit, his talk was engaging and entertaining from start to finish. Entitled ‘How Big is Your World?’ (a quote from Doris Lessing,) he kicked things off by asking everyone to shut their eyes and hum. Everyone in the auditorium did. It sounded great!

During a recent usability study, I wanted to share some thoughts with our client about how to encourage people to engage with their site a little more deeply, as this is currently a key objective for them.

We've recently been involved in in a proposal for a brand new museum, putting together ideas for a large number of different interactives which address a number of gallery needs and look at a wide range of content.

We always hit the same problem with these projects: that the ambition of the work far outstrips the available budgets. And one of the reasons for this is that we seem to re-invent the wheel for each new interactive.

I can't talk about the museum in question for obvious reasons, so let's invent one for a thought experiment.