EJM-PRO-4 PROGRAM OPERATION
CONTENTS
- Introduction
- Creating and managing the project
- Technical issues
- Legal background
- How to place an order
- How to contact us
- Appendix
INTRODUCTION
Our company has developed a program for museums based on the use of QR codes. The goal is to allow museum visitors to scan the QR code next to the artwork with their phone and listen to the audio information. We have attached such a QR code board with this letter – please try using it first: scan the code with your phone and follow the program.
As you can see: the program is in four popular languages, which the visitor chooses. This solution makes it possible to complete the visual experience of the artwork with relevant information. This significantly enhances the visitor’s experience, while educating them in an entertaining way. This approach is completely new and we would like to be able to present it for the first time ever at the Paul Getty Museum.
How does the EJM-PRO-4 program work?
EJM-PRO-4 is two interlinked programs that run together. The first part of the program involves the museum visitor’s phone recognizing the QR code and the corresponding launch program with which the visitor selects the desired language.
The second part of the program is to play the audio programs installed on our server.
CREATING AND MANAGING THE PROJECT
What kind of cooperation do we want between the museum and our company?
We need to work together to operate the program. The museum’s main task is to provide a description of the artwork. This description can be historical (a description of the period), a description of the artist, or even a fine art approach – or any combination of these. The goal is to enhance the visitor’s experience and knowledge, to help them better understand the object. The rest of the work would be our responsibility.
What should be the format of the description of the artwork?
Please provide the text in English, typed. There is no limit to the length of the text. We recommend that the typed text should be no longer than 400-450 words or 2500 typed characters. This means approximately 2.5 – 3.0 minutes of audio material, which may vary slightly from language to language. Longer than this would overburden the visitor.
(The relevant data for the Van Gogh painting included as sample can be found in the Appendix section).
What should be the format of the image associated with the artwork?
The image of the work of art will be presented in the program’s start-up image – in a reduced format – so that the visitor can be sure that they are listening to the information related to the given artwork. The image should be in “jpg” format with a minimum size of 640×480 pixels. Higher resolutions are also accepted, but due to the reduced storage size on the phone, we have to reduce the resolution.
How do we request the provision of museum material?
For the sake of simplicity, please send these two pieces of information to the e-mail address on the Order Form, which will be used to prepare the project.
What languages can the project be produced in?
We have selected 4 languages (English, Spanish, French and German) from the sample submitted. These are the languages we recommend, but the museum can of course request other languages (for example, Italian instead of German). A very important condition is that the museum does not change the languages chosen in the future – so that all the artworks to be ordered in the future are in the same language.
(See the Appendix section for a list of languages to choose.)
How many languages can the project be produced in?
At present we can process a maximum of 4 languages. The program is under continuous development, and in the future it will be possible to use up to 6 languages simultaneously.
Does the number of languages change the commitment price?
No change. The cost of using 2 languages is the same as that using 4 languages. In the case of choosing a very specific language, a surcharge may be applied.
What do we hand over to the museum after the project is completed?
In physical terms, we will deliver a 4″ x 7″ QR code board, in 2 versions, according to the sample attached to this letter. One version can be attached to a wall or a supporting stand, the other version can be glued to a suitable surface. On the back of both boards, we will include the details of the artwork so that the board does not get mixed up during installation.
What does our company do?
Based on the written information provided and the image, we will create a launcher that will be displayed on the phone when the QR code is called up. We translate the English material into the requested languages, create the audio recordings and store them on our server.
How is the project delivered?
The completed board containing QR code will be mailed to the address provided by the museum. The project will arrive in a working state and one of the boards can be installed immediately. The museum has 15 days to install and pay for the project.
How should the project be paid for?
By check, by mail. Each project is given a unique identification number. When the project is delivered, the invoice to be paid is attached. This also applies to the same delivery of several projects, where one contains the consideration for several projects delivered at the same time.
What happens in case of non-payment or late payment?
If payment is not made on time, the operation of the specific QR code will be stopped. In the case of the payment later, the QR code will be made available again (reactivated) on the day of payment.
It is possible to change the text provided by the museum?
Yes, at any time. This may be the case when the museum replaces the previously provided material with a longer or shorter text. In this case we will make the change in all languages without changing the QR code in the meantime. The cost of replacing the text will be agreed upon later, at the time of ordering, but their amount may not exceed 50% of the original price.
How long is the service period according to the commitment price?
The term of performance (subscription) between EJM-Productions, Inc. and the museum is 2 years (24 months), which may be extended by additional 2-year periods. EJM-Productions, Inc. must notify the museum 30 days prior to the expiration of the subscription period and the option to renew. The notice must be specific to each production.
What happens if the customer does not renew the subscription?
If the customer fails to renew, the QR code will be deactivated. If a renewal is still due, the QR code will be reactivated on the day of payment.
Storing the QR code and sound files
Both the QR code and the associated audio files will be stored off-line for at least 10 years. In the event of a malfunction (e.g. a computer attack), the code and the associated production material can be reconstructed as soon as possible. Off-line storage means that the data is inaccessible from the internet network. The QR code given to the museum does not need to be changed in this case either.
Data protection
All data in the program is highly protected. The introductory program running on the visitor’s phone cannot be attacked, the audio material stored on our server is particularly protected.
TECHNICAL QUESTIONS
Why do we use phones and their benefits?
Today, mobile phones, especially smartphones, are widely used. We believe that the cultural level of museum visitors is above average and most of them already use mobile phones. Such devices basically include QR code recognition software. This allows visitors to access with previously unknown information without any cost to the visitors, it is free.
Which phones can read QR codes?
The two most popular computing platforms – Android and iOS – include QR code recognition function. This also means that the two most popular brands – iPhone and Samsung – automatically detect and process it. The processing speed is slightly faster in the case of iPhones than for Samsung phones. Phone owners know how to use these programs.
Is there a technical limit to the use of phones in museums?
In general, no. Visitors still use their phones – mainly for photography – but they can also make phone calls from the museum rooms. This means that there is no technical limit to the use of the EJM-PRO-4 program. Sometimes, in some museums, visitors are unable to use their phones, but this is not common. In such cases, the program will of course not work.
What kind of transmission connection can smartphones use?
Most of them are suitable for connecting to the local WiFi network, but without exception, all of them have a data transfer (DATA) function. The phones use both options (a special password is required to set up local WiFi). In general, all phones are also capable of receiving digital DATA. The amount of DATA used is negligible.
Does the EJM-PRO-4 program make use of the museum’s IT infrastructure?
It does not. Recognizing of the QR code automatically directs the visitor’s phone to our server, from where the data is transferred.
Does the EJM-PRO-4 program create any changes on the visitor’s phone?
It does not make any changes and its operation does not leave any trace. The program uses only the phone’s audio playback subsystem, until the end of the program run. For this reason, neither our company nor the museum is responsible for the program’s operation.
How much does the program load the visitor’s phone’s performance?
In practice, the load is so low that is inestimable. This also applies to the use of the phone’s battery: the EJM-PRO-4 program has no significant impact on the phone’s power consumption.
Does simultaneous use affect the speed at which the program runs?
No, it does not affect the program. Due to the potentially large number of visitors at the exhibition, it is possible that several visitors connect to the service at the same time. This applies to cases where several people want to listen to the audio material in one language at the same time, or to cases where several people use the program in several languages and the same time. The program is designed to serve a large number of visitors at the same time, even in different languages.
How far away can a QR code be read safely?
The sign we provide (4″ x 7″) can be read without error from a distance of 45 inches (about 1.20 meters), depending on the sensitivity of the phone’s camera. This value corresponds to the sensitivity of older phones, the detection distance of newer phones is much better. This means that from the museum’s point of view, visitors do not have to get closer than 1.20 meters (4 feet) to the exhibited object.
LEGAL BACKGROUND
The EJM-PRO-4 program is protected by a description filed with the US Copyright Office and a patent description filed with the US Patent Office (the letter is in “Patent pending” phase).
Since running the program does not cause any hardware or software changes on visitors’ phones, visitors cannot bring any meaningful legal action against the museum.
EJM-PRO-4 is the solely responsible for any liability for the sub-programs we used in the creating the EJM-PRO-4 program. This does not apply to legality of images provided by the museum.
EJM Productions, Inc. is a company incorporated in the State of California, USA.
ORDERING PROCESS
The museum can order using the Order Form attached to our letter. Please send your order – and any attachments – electronically to the e-mail address indicated on the Order Form. Accepted orders will be fulfilled within 6-8 working days and the QR board will be mailed to the address provided. In the event that we are unable to fulfill your order in time due to busy schedule, within the above timeframe due to occupancy, we will notify you in a timely manner by e-mail.
If the customer cancels the order after its fulfillment, at any time during the subscription period, for reason attributable to him, the QR code will be deactivated. In such a case, the fulfillment fee will not be refunded.
In the event of cancellation of the project for any reason, the project data will be stored within 10 years from the date of application and the project can be restored free of charge within this time.
KEEP IN TOUCH
Contact between the customer and the service provider can be made in writing, by telephone or electronically (by e-mail), according to the customer’s wishes. The EJM Productions, Inc. Sales Department is available between 10.00 am and 4.00 pm (Pacific Standard Time) on business days.
Mailing Address: EJM Productions, Inc. – PO Box 293, Fawnskin, CA 92333, USA
Telephone number: (1) 760-774-2798
WEB: edyflex.com
E-mail: ejm-pro@edyflex.com
APPENDIX
I. SUPPORTED LANGUAGES:
English – US
English – Canada
English – United Kingdom
English – Australia
Spanish
French – European
French – Canada
Italian
Danish
Dutch
German
Polish
Russian
Chinese – Mandarin
Chinese – Cantonese
Japanese
II. PRICE LIST
| Duration | US Dollar/Month | Total |
| 6 months | 12.00 | $ 72.00 |
| 12 months | 8.00 | $ 96.00 |
| 24 months* | 5.50 | $132.00 |
* Suggested
III. SAMPLE TEXT
Vincent Van Gogh: Irises
In May 1889, van Gogh voluntarily entered the Saint-Paul-de-Mausole asylum in nearby Saint-Rémy, where he painted around 150 canvases over the course of the next year. His initial confinement to the hospital grounds is reflected in his imagery – from depictions of its corridors to the irises and lilacs of its walled garden, visible from the window of the spare room allocated as his studio. Vincent was restricted to the premises, where his only connection with nature was the enclosed garden and the view from his bedroom window. He visited the garden to find solace in painting -, an early example of what is now called art therapy. In a letter to his brother Theo van Gogh mentioned that he had begun a painting of ‘violet irises’, a reference to Irises. Van Gogh was optimistic about the restorative effects of painting in the hospital garden. “I believe that all my faculties for work will come back to me quite quickly”.
Van Gogh started painting Irises within a month of his one-year stay at Saint-Paul-de-Mausole, in May 1889, working from nature in the hospital garden. Van Gogh himself regarded this painting as a study, and there are no known drawings for it. Irises bears a direct trace of his work there: embedded in the paint is one of the pollen cones that fall in abundance from the umbrella pines in the garden.
During his stay at the Saint-Paul-de-Mausole asylum, van Gogh painted several variations of irises. A single iris is the subject of another painting. Iris, with one full bloom, may have been painted before Irises that was filled with blooms. Iris must have been painted earlier than Irises in the former there is just one full bloom and multiple swelling buds, while Irises is filled with blooms, some of which are beginning to fade. Bearded irises bloom for about three weeks (slightly longer if the weather is cool; more briefly if it is hot), so we can guess that these two paintings were separated by about ten days or so. Given the timeframe-Vincent tells his brother in a letter written from two to seven days after his arrival that he had “I have two others on the go — violet irises and a lilac bush.”
After its completion in 1889, van Gogh wrote to Theo to send him four rolls of canvases and seven studies, including Irises.
Statistics:
| English text | 400 words | 2277 characters | length of audio: 2’26” |
| Spanish text | 416 words | 2456 characters | length of audio: 2’45” |
| French text | 435 words | 2503 characters | length of audio: 2’30” |
| German text | 404 words | 2662 characters | length of audio: 3’15” |