Digital technology and museum collections

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Training course for East Midlands museums on promoting digital access to and engagement with collections, 12th September 2014

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  • 1. Digital technology and collections:promoting access and engagementFiona Marshall

2. Object information/images for public use Crowd-sourcing / co-creation Mobiles, games Augmented reality, virtual reality New technologies Audiences and engagement Learning how to learn from others2 3. Writing for the web Digitising images (jiscdigitalmedia.ac.uk) Creating video (ditto) Copyright / Creative Commons Etc!3 4. Freelance consultant/Project Manager MDEMs Digital Strategies prog coordinator HLF Mentor and Monitor RIBA et al: Image sales Ashmolean: Ruskins Elements of Drawing British Museum: New Media Content Manager Leicestershire Museums: Registrar, Info Systems Gas Museum, Leicester Index+, MultiMIMSY, MuseumPlus, CollectionSpace Databases, user testing, project planning etc4 5. Most people like their own project Awards go to organisations who apply forthem rarely nominations Ask for impartial recommendations Ask about real impact Look at the detail in evaluation reports What would they do differently if they werestarting again? What has been the key to their success? Ask your relatives/friends to try stuff out andtell you what they think5 6. 6http://victoriancollections.net.au 7. MODES web server Wordpress7 8. 8 9. 9http://collections.wordsworth.org.uk/wtweb/home.asp?page=Letters%20search%20home 10. 10 http://www.bda-collection.org 11. 11 http://www.egyptcentre.org.uk 12. 12 https://ehive.com/account/4094 13. 13 14. 14 15. 15https://ehive.com/account/4162/object/189837/Church_group 16. 16 17. 17 18. 18http://rugbymoments.net 19. 19 20. Basic website FOC Hosting 150 per annum Customisation DIY or 55020 21. 21http://rutlandcountymuseum.org.uk/wordpress/?datasource=rutland&page_id=348&modes_query={Object%20classifications}={Working%20life,%20Rural%20life%20and%20agriculture} 22. 22 http://www.museumssites.com 23. 23 24. 24 25. 25http://www.gallerysystems.com/emuseum-share-your-collection-web 26. 26http://www.adlibsoft.com/products/internetserver-uk 27. 27https://www.google.com/culturalinstitute/home 28. 28https://www.google.com/opengallery 29. 29https://antarctic-heritage-trust.culturalspot.org/home# 30. 30http://www.walkerart.org/collections/browse 31. 31http://www.culturegrid.org.uk 32. Linked Open Data, eg Europeana Big Data Semantic web Context for search engines eg opening hours,Artists etc32 33. Highlight visual elements Remove non-essential text then edit down further Minimal instructions for activities Point out particular aspects e.g. of a photo thatlearners might not notice NC links not usually very helpful Instead use phrases that resonate with teachers specific to the content Teachers will likely make their own resourcestailored to their class, so make it flexible andprovide great images/videos/info they can't geton their own.33 34. 34 35. 35http://www.mylearning.org 36. 36 37. 37http://www.mylearning.org/interactivelist.asp 38. 38 http://wrvslearning.wordpress.com 39. 39 40. 40 41. 41http://digitallearningnetwork.net 42. 42 http://www.memoryprints.com/gallery/birmingham 43. From Nick Pooles presentation to Oxford Aspire The Digital Agenda in Museums June 2013 43www.slideshare.net/nickpoole/the-digital-agenda-in-museums-2013 44. 44https://www.rijksmuseum.nl/en/rijksstudio 45. Museum accreditation Funding Technological possibilities Partnerships with universities et al Audiences?45 46. Good-quality services and developmentThe museum must offer and develop good-quality,stimulating services for users andpotential users, in order to get the best out ofits collections, resources and local area. 3.1.5 take account of users needs, guided bya policy statement setting out a commitmentto give everyone access to collections andassociated information46Museum Accreditation 3.1 47. Effective learning experiencesLearning is a core purpose for museums. They usecollections and associated information for exhibitionsand learning opportunities. 3.3.1 exhibit the collections using a variety ofinterpretative methods 3.3.2 provide access to the collections and associatedinformation for research purposes and other forms ofengagement 3.3.3 provide effective and stimulating learning anddiscovery experiences focused on the collections47Museum Accreditation 3.3 48. 48From: Digital R&D Fund for the Arts survey 2013http://artsdigitalrnd.org.uk/wp-content/uploads/2013/11/DigitalCulture_Summary.pdfFunded by Nesta, Arts Council, AHRC 49. Museums report having lower than averagelevels of digital expertise and empowermentfrom their senior management and a lowerthan average focus on digitalexperimentation, and research anddevelopment. 22 per cent of arts and cultural organisationsas a whole strongly agree that most of theirsenior management are knowledgeable aboutdigital technologies, compared to just 10 percent for museums.49 50. Are we seeing impacts in terms of how wework, how we manage our collections and theexperiences we create for visitors? Or istechnology draining valuable resources fromother priorities?Seeing how the use of digital in the sector isevolving is vitally important for all of us. Ithelps museum professionals make informeddecisions about technology. It also ensuresfunders develop great support mechanisms,and bring energy to worthwhile initiatives.50 51. 51 By Museum Hack based on an article by Roy Clare 52. The audience is becoming more than acustomer, the museum more than a provider Dont send information but engage indialogue Know your audience, their ideas, their fears Implement systems for listening Focus on service and making the lives ofothers easier Be responsive. http://digitalengagementframework.com52 53. 53Digital Engagement in culture, heritage & the artsJasper Visser and Jim Richardson 54. 54Digital Engagement in culture, heritage & the artsJasper Visser and Jim Richardson 55. 55Digital Engagement in culture, heritage & the artsJasper Visser and Jim Richardson 56. Incidental users & social sharers - pinning onPinterest, blogging, sharing on Facebook,tweeting and generally making and distributingcontent to be shared over social networks; Museum-goers - finding out about yourmuseum, finding interesting things to do orpersonal research; Researchers - using your collections informationin support of research, grouping sets ofinformation, making connections, adding newknowledge and generally going in-depth into aparticular subject area56 57. Short, sharp content - usually visual which caneasily be shared over a social network. Richer narrative content about the themes covered byyour collections for real and virtual visitors. Beingtaken by the hand by a friendly expert and hearingthe 'hidden histories' - the stories and connectionsnot usually included on the label! Deep, authoritative information so that researcherscan find, save and make use of the rich knowledge inand about your collections.Do less in more depth.57 58. 58 59. Frightening pace of change. Partnershipswith universities and tech providers? Universities need to demonstrate the impactof their research. Museums can help. Managing services at a time of such fast paceof change Everyone needs to be learning about digital Measure impact Marketing budget59 60. Metrics (quantitative) Impact (qualitative) Anecdotes60From Digital Engagement Framework 61. Measure what you value, dont value what youmeasure Demand not supply: we have these ceramics, how can we tell peopleabout them and improve access to them? lots of people are interested in pottery, how can westart a conversation about our shared knowledge[based] around our ceramics collection? Audience segmentation, motivation, behaviour http://weareculture24.org.uk/projects/action-research61Culture24: Lets Get Real 2 62. Dont be led by technology, be led by theaudience But which tech suits that audience?... For the following examples, decide whetherthey could help you to Reach new audiences or Increase engagement with existing audiences62Exercise 63. 63Digital Engagement in culture, heritage & the artsJasper Visser and Jim Richardson 64. From Comments and suggestions to Re-use of museum material for new projectsto Co-creation (crowdsourcing) to Running whole projects64 65. 65https://www.flickr.com/photos/hartlepool_museum/ 66. Are people photographing your objects? Set up a Flickr group for visitors photos andtell them about the group? Would they volunteer to take more photos foryou or get more involved?66 67. 67https://www.flickr.com/photos/hartlepool_museum/6874441692/ 68. 68 69. 69 70. 70 71. 71 http://collections.vam.ac.uk/crowdsourcing 72. 72 https://collection.cooperhewitt.org/objects/18448667 73. http://www.horniman.ac.uk/collections/visitor-tags 73 74. 74 75. 75http://www.bbc.co.uk/arts/yourpaintings/ 76. 76http://tagger.thepcf.org.uk/tutorial 77. 77http://www.notesfromnature.org 78. 78https://www.zooniverse.org 79. 79http://www.operationwardiary.org 80. 80http://www.bottesfordhistory.org.uk/index.aspx 81. 81http://dulwichonview.org.uk 82. 82 http://ruskin.ashmolean.org/education/8989/9033 83. 83 84. 84http://www.britishmuseum.org/about_us/community_collaborations/partnerships/talking_objects/talking_objects_toolkit.aspx 85. 85 http://en.wikipedia.org/wiki/A_Philosopher_Lecturing_on_the_Orrery 86. Check your museum and highlights Find out what others are saying about you Wikipedian in residence: Derby86 87. Facebook: eg Boston, Mansfield Instagram eg Horniman Visitors creating stuff about your collections Adding photos to Facebook/Twitter/Instagram/Tripadvisor Videos to YouTube etc87 88. http://www.pinterest.com/hornimanmuseum 88 89. Are you building community / discussions? Or promoting visits / objects? How many visitors hear about you on Twitter? How does that compare with local newspapers? Concentrate on potential visitors rather thanpeers? Start wi