Yet another conversation on twitter about the NMOLP/Creative Spaces project lead to a discussion of the long lead times for digital projects in the cultural heritage sector. I’ve worked on projects that were specced and goals agreed with funders five years before delivery, and two years before any technical or user-focussed specification or development began, and I wouldn’t be surprised if something similar happened with NMOLP.
Five years is obviously a *very* long time in internet time, though it’s a blink of an eye for a museum. So how do we work with that institutional reality? We need to figure out agile, adaptable project structures that funders and bid writers can also understand and buy into…
The initial project bid must be written to allow for implementation decisions that take into account the current context, and ideally a major goal of the bid writing process should be finding points where existing infrastructure could be re-used. The first step for any new project should be a proper study of the needs of current and potential users in the context of the stated goals of the project. All schema, infrastructure and interface design decisions should have a link to one or more of those goals. Projects should built around usability goals, not object counts or interface milestones set in stone three years earlier.
Taking institutional parameters into account is of course necessary, but letting them drive the decision making process leads to sub-optimal projects, so projects should have the ability to point out where institutional constraints are a risk for the project. Constraints might be cultural, technical, political or collections-related – we’re good at talking about the technical and resourcing constraints, but while we all acknowledge the cultural and political constraints it often happens behind closed doors and usually not in a way that explicitly helps the project succeed.
And since this is my lunchtime dream world, I would like plain old digitisation to be considered sexy without the need to promise funders more infrastructure they can show their grandkids.
We also need to work out project models that will get buy-in from contractors and 3rd party suppliers. As Dan Zambonini said, ”Usability goals’ sounds like an incredibly difficult thing to quantify’ so existing models like Agile/sprint-esque ‘user stories’ might be easier to manage.
We, as developers, need to create a culture in which ‘failing intelligently’ is rewarded. I think most of us believe in ‘failing faster to succeed sooner’, at least to some extent, but we need to think carefully about the discourse around public discussions of project weaknesses or failures if we want this to be a reality. My notes from Clay Shirky’s ICA talk earlier this year say that the members of the Invisible College (a society which aimed to ‘acquire knowledge through experimental investigation’) “went after alchemists for failing to be informative when they were wrong” – ” it was ok to be wrong but they wanted them to think about and share what went wrong”. They had ideas about how results should be written up and shared for maximum benefit. I think we should too.
I think the MCG and Collections Trust could both have a role to play in advocating more agile models to those who write and fund project bids. Each museum also has a responsibility to make sure projects it puts forward (whether singly or in a partnership) have been reality checked by its own web or digital specialists as well as other consultants, but we should also look to projects and developers (regardless of sector) that have managed to figure out agile project structures that funders and bid writers can also understand and buy into.
So – a blatant call for self-promotion – if you’ve worked on projects that could provide a good example, written about your dream project structures, know people or projects that’d make a good case study – let me know in the comments.
If you liked this post, you may also be interested in Confluence on digital channels; technologists and organisational change? (29 September 2012) and Museums and iterative agility: do your ideas get oxygen? (21 November 2010).