Collaboration, constraints and cloning and ‘the open museum’: notes from UKMW13

MCG’s UK Museums on the Web 2013: ‘Power to the people’ was held at Tate Modern on November 15, 2013. These are very selected notes but you can find out more about the sessions and see most slides on the MCG’s site. UKMW13 began with a welcome from me (zzz) and from Tate’s John Stack (hoorah!) then an announcement from our sponsors, Axiell Adlib and CALM, that CALM, Mimsy and AdLib are merging to create ‘next generation’ collections system – the old school collections management geek in me is really curious to see what that means for museums, libraries and archives and their data.

Our first keynote, Hannah Freeman, presented on the Guardian’s work to reach and engage new audiences. This work is underpinned by editor Alan Rusbridger’s vision for ‘open journalism‘:

‘journalism which is fully knitted into the web of information that exists in the world today. It links to it; sifts and filters it; collaborates with it and generally uses the ability of anyone to publish and share material to give a better account of the world’. 

At a casual glance the most visible aspect may be comments on pages, but the Guardian is aiming for collaborations between the reader and the newsroom – if you haven’t seen Guardian Witness, go check it out. (I suspect the Witness WWI assignment will do better than many heritage crowdsourcing efforts.) I know some museums are aiming to be of the web, not just on the web, but this ambition is usually limited to making their content of the web, while a commitment to open journalism suggests that the very core practices of journalism are open to being shaped by the public.

The Guardian is actively looking for ways to involve the audience; Freeman prompts editors and authors to look at interesting comments, but ‘following as well as leading is a challenge for journalists’. She said that ‘publication can be the beginning, not the end of the process’ and that taking part in the conversation generated is now part of the deal when writing for the Guardian (possibly not all sections, and possibly staff journalists rather than freelancers?). From a reader’s point of view, this is brilliant, but it raises questions about how that extra time is accounted for. Translating this into the museum sector and assuming that extra resources aren’t going to appear, if you ask curators to blog or tweet, what other work do you want them to give up?

Hannah Freeman, Guardian Community coordinator for culture at UKMW13. Photo: Andrew Lewis

Our closing keynote, the Science Gallery’s Michael John Gorman was equally impressive. Dublin’s Science Gallery has many constraints – a small space, no permanent collection, very little government funding, but he seems to be one of those people who sees interesting problems to solve where other people see barriers. The Science Gallery acts as funnel for ideas, from an open call for shows to some people working on their ideas as a ‘brains trust’ with the gallery and eventually a few ideas making it through the funnel and onto the gallery floor to incubate and get feedback from the public. Their projects have a sense of ‘real science’ about them – some have an afterlife in publications or further projects, some might go horribly wrong or just not work. I can’t wait until their gallery opens in London so I can check out some of their shows and see how they translate real scientific questions into interesting participatory experiences. Thinking back over the day, organisations like the Science Gallery might be the museum world’s version of open journalism: the Science Gallery’s ‘funnel’ is one way of putting the principles of the ‘open museum’ into practice (I’ve copied the Guardian’s 10 principles of open journalism below for reference).

Michael John Gorman, The Ablative Museum

Possible principles for ‘the open museum’?

While the theme of the day was the power of participation, I’ve found myself reflecting more on the organisational challenges this creates. Below are the Guardian’s 10 principles of open journalism. As many of the presentations at UKMW13 proved, museums are already doing some of these, but which others could be adapted to help museums deal with the challenges they face now and in the future?
  • It encourages participation. It invites and/or allows a response
  • It is not an inert, “us” or “them”, form of publishing
  • It encourages others to initiate debate, publish material or make suggestions. We can follow, as well as lead. We can involve others in the pre-publication processes
  • It helps form communities of joint interest around subjects, issues or individuals
  • It is open to the web and is part of it. It links to, and collaborates with, other material (including services) on the web
  • It aggregates and/or curates the work of others
  • It recognizes that journalists are not the only voices of authority, expertise and interest
  • It aspires to achieve, and reflect, diversity as well as promoting shared values
  • It recognizes that publishing can be the beginning of the journalistic process rather than the end
  • It is transparent and open to challenge – including correction, clarification and addition

The open museum isn’t necessarily tied to technology, though the affordances of digital platforms are clearly related, but perhaps its association with technology is one reason senior managers are reluctant to engage fully with digital methods?

A related question that arose from Hannah’s talk – are museums now in the media business, like it or not? And if our audiences expect museums to be media providers, how do we manage those expectations? (For an alternative model, read David Weinberger’s Library as Platform.)

Emerging themes from UKMW13

I’ve already posted my opening notes for Museums on the Web 2013: ‘Power to the people’ but I want to go back to two questions I was poking around there: ‘how can technologists share our knowledge and experience with others?’, and ‘why isn’t the innovation we know happens in museum technology reflected in reports like last week’s ‘Digital Culture: How arts and cultural organisations in England use technology‘? (Or, indeed, in the genre of patronising articles and blog posts hectoring museums for not using technology.) This seems more relevant than I thought it would be in 2013. Last year I was wondering how to define the membership of the Museums Computer Group when everyone in museums was a bit computer-y, but maybe broad digital literacy and comfort with technology-lead changes in museum practice is further off than I thought. (See also Rachel Coldicutt’s ‘I Say “Digital!”, You Say “Culture!”‘). How do we bridge the gap? Is it just a matter of helping every museum go through the conversations necessary to create a digital strategy and come out the other side? And whose job is it to help museum staff learn how to manage public engagement, ecommerce, procurement, hiring when the digital world changes so quickly?
Another big theme was a reminder of how much is possible when you have technical expertise on hand to translate all the brilliant ideas museums have into prototypes or full products. At one point I jokingly tweeted that the museum and heritage sector would make huge leaps if we could just clone Jim O’Donnell (or the BBC’s R&D staff). Perhaps part of the ‘museums are digitally innovative’/’museums suck at digital’ paradox is that technologists can see the potential of projects and assume that a new standard has been set, but it takes a lot more time and work to get them integrated into mainstream museum practice. Part of this may be because museums struggle to hire and keep really good developers, and don’t give their developers the time or headspace to play and innovate. (Probably one reason I like hackdays – it’s rare to get time to try new things when there is more worthy work than there is developer/technologist time – being inspired at conferences only goes so far when you can’t find a bit of server space and a free day to try something out.) This has also been a theme at the first day at MCN2013, from what I’ve seen on twitter/webcasts from afar, so it’s not only about the budget cuts in the UK. The Digital Culture report suggests that it may also be because senior management in museums don’t know how to value ‘digital experimentation’?

Other, more positive, themes emerged to link various presentations during the day. Community engagement can be hugely rewarding, but it takes resources – mostly staff time – to provide a conduit between the public and the organisation. It also takes a new mindset for content creators, whether journalists, educators or curators to follow the crowds’ lead, but it can be rewarding, whether it’s getting help identifying images from ‘armchair archaeologists’, working with online music communities to save their memories before they’re lost to living memory or representing residents experiences of their city. Both presenters and the audience were quick to raise questions about the ethics of participatory projects and the wider implications of content/item collecting projects and citizen history.

Constraints, scaffolding, the right-sized question or perfectly themed niche collection – whatever you call it, giving people boundaries when asking for contributions is effective. Meaningful participation is valued, and valuable.

Open content enables good things to happen. Digital platforms are great at connecting people, but in-person meetups and conversations are still special.

Finally, one way or another the audience will shape your projects to their own ends, and the audience proved it that day by taking to twitter to continue playing Curate-a-Fact between tea breaks.

We should have a proper archive of all the #UKMW13 tweets at some point, but in the meantime, here’s a quick storify for MCG’s Museums on the Web 2013: Power to the people. Oh, and thank you, thank you, thank you to all the wonderful people who helped the day come together.

Opening notes for Museums on the Web 2013: ‘Power to the people’

It’ll take me a few days to digest the wonderfulness that was MCG’s UK Museums on the Web 2013: ‘Power to the people’, so in lieu of a summary, here are my opening notes for the conference… (With the caveat that I didn’t read this but still hopefully hit most of these points on the day).

Welcome to Museums on the Web 2013! I’m Mia Ridge, Chair of the Museums Computer Group.

Hopefully the game that began at registration has helped introduce you to some people you hadn’t met before…You can vote on the game in the auditorium over the lunch break, and the winning team will be announced before the afternoon tea break. Part of being a welcoming community is welcoming others, so we tried to make it easier to start conversations. If you see someone who maybe doesn’t know other people at the event, say hi. I know that many of you can feel like you’re working alone, even within a big organisation, so use this time to connect with your peers.

This week saw the launch of a report written for Nesta, the Arts Council, and the Arts and Humanities Research Council in relation to the Digital R&D Fund for the Arts, ‘Digital Culture: How arts and cultural organisations in England use technology‘. One line in the report stood out: ‘Museums are less likely than the rest of the sector to report positive impacts from digital technologies’ – which seems counter-intuitive given what I know of museums making their websites and social media work for them, and the many exciting and effective projects we’ve heard about over the past twelve years of MCG’s UK Museums on the Web conferences (and on our active discussion list).

The key to that paradox may lie in another statement in the report: museums report ‘lower than average levels of digital expertise and empowerment from their senior management and a lower than average focus on digital experimentation, and research and development’.* (It may also be that a lot of museum work doesn’t fit into an arts model, but that’s a conversation for another day.) Today’s theme almost anticipates this – our call for papers around ‘Power to the people’ asked for responses around the rise of director-level digital posts the rise of director-level digital posts and empowering museum staff to learn through play as well as papers on grassroots projects and the power of embedding digital audience participation and engagement into the overall public engagement strategy for a museum.

Today we’ll be hearing about great projects from museums and a range of other organisations, but reports like this – and perhaps the wider issue of whether senior management and funders understand the potential of digital beyond new forms of broadcast and ticket sales – raises the question of whether we’re preaching to the converted. How can we help others in museums benefit from the hard-won wisdom and lessons you’ll hear today?

The Museums Computer Group has always been a platform for people working with museum technology who want to create positive change in the sector: our motto is ‘connect, support, inspire’, and we’re always keen to hear your ideas about how we can help you connect, support and inspire you, but as a group we should also be asking: how can we share our knowledge and experience with others? It can be difficult to connect with and support others when you’re flat out with your own work, yet the need to scale up the kinds of education we might have done with small groups working on digital projects is becoming more urgent as audience expectations change and resources need to be spent even more carefully. Ultimately we can help each other by helping the sector get better at technology and recognise the different types of expertise already available within the heritage sector. Groups like the MCG can help bridge the gap; we need your voices to reach senior management as well as practitioners and those who want to work with museums who’ll shape the sector in the future.

It’s rare to find a group so willing to share their failures alongside their successes, so willing to generously share their expertise and so keen to find lessons in other sectors. We appreciate the contributions of many of you who’ve spoken honestly about the successes and failures of your projects in the past, and applaud the spirit of constructive conversation that encourages your peers to share so openly and honestly with us. I’m looking forward to learning from you all today.

* Update to add a link to an interview with MTM’s Richard Ellis who co-authored the Nesta report, who says the ‘sheer extent of the divide between those in the know and those not’ was one of the biggest surprises working in the culture sector.

‘Behind-the-themes’ at the UK Museums on the Web conference – UKMW12 ‘Strategica​lly Digital’

Full disclosure: I’m the Chair of the Museums Computer Group, and in this case I also chaired the Programme Committee, but I think we’ve put together a really strong programme.  I thought I’d provide some background here about where the themes came from.  (Also, I’ll take any excuse for a punning title.)

When putting together the themes, I reviewed reports from a number of international conferences and went through the archives of the MCG’s mailing list to get a sense of the issues that were both bugging our members on a daily basis and having an impact on museums more generally.  I’ve also spent time talking to staff in museums in Australia, New Zealand, Taiwan, the US and (of course) the UK and those conversations also informed the themes.  I also referred back to the MCG Committee‘s discussions about our vision for ‘[email protected]’, which included supporting our members by advocating for their work at higher levels of the museum sector. Hopefully this event is part of this process, as is a session on ‘digital strategy’ at the Museums Association conference.

For me, being ‘strategically digital’ means the best solution for a project might not involve technology.  Being ‘strategically digital’ offers some solutions to the organisational change issues raised by the mismatch between web speed and museum speed, and it means technology decisions should always refer back to a museum’s public engagement strategy (or infrastructure plans for background ICT services).

Like our ‘Engaging digital audiences in museums’ Spring meeting that aimed to get museum technologists and educators talking and learning from each other, UKMW12 is about breaking out of our comfortable technology-focused bubble and making sure the goals and language of web and digital teams relate to the rest of the organisation; it’s also about helping the rest of the museum understand your work.  We’ve seen a range of people sign up for tickets so far, so hopefully the day will provide a chance for staff to understand more about the workings of their own museum as well as the museums presenting on the day.  The conference is grounded in reality: our speakers address both successes and failures in digital strategies and organisational change.  You can get a sneak preview of the range of discussion on the day at Andrew Dobson’s post on ‘10 things I have learned working for Sky‘, Tate’s Online Strategy or Caper on Happenstance, Simon Tanner’s ‘Balanced Value Impact Model‘ and of course through the talk abstracts in the programme.   Some of our best Museums on the Web conferences have featured a similar mix of fresh voices from outside the sector and hard-won wisdom from within the sector, so I have high hopes for this event.

After some thought, a call for papers and the input of the wonderful 2012 Programme Committee (Ross Parry, Melissa Terras, Carolyn Royston and Stuart Dunn), this is the result:

Logo that says: 'museums computer group: connect me, support me, inspire me'

The Museums Computer Group’s annual Museums on the Web conference – UKMW12 – will be held at the Wellcome Collection in London on 30 November 2012.

UKMW12 is about being ‘strategically digital’. Responding to the issues faced by museums today, it’s an opportunity to take a step back from the everyday and think strategically about the impact of the digital revolution on your museum and on the sector as a whole, including themes such as: digitally enabling the modern museum and its staff; sustaining the digital agenda and the realities of digital strategies and organisational change; and the complexities of digital engagement and the impact of social media on audience expectations. 

UKMW12 brings together speakers from organisations including the Tate, the V&A, UCL, King’s College, the Guardian, Strategic Content Alliance, Collections Trust and Caper. 

As always, UK Museums on the Web is a day for being inspired by the latest ideas, for learning from case studies grounded in organisations like yours, and for networking with other technologists, curators, managers, academics, learning and marketing specialists in the museum and heritage sector. 

Don’t miss out! Book your ticket now at http://ukmw12.eventbrite.co.uk
Find out more about the conference at http://bit.ly/ukmw12.

If you’ve never been (or haven’t been for a while) to an MCG event, these posts link to several event reports from attendees and should give you an idea of who goes and what’s discussed: Your blog posts and tweets about ‘Engaging digital audiences in museums’ (Spring 2012); UKMW11 Blog Posts (theme: The innovative museum: creating a brighter future); UK Museums on the Web 2010.

On a personal note, this event will mark 30 years since the first ever Museums Computer Group event, and eight years since the first UK Museums on the Web conference – a milestone worth celebrating!  If you’d like to be an active part of the MCG’s future, we’ll be electing new committee members in the lunchtime AGM on November 30.  Get in touch if you’re curious about how you could contribute…

Quick and light solutions at ‘UK Museums on the Web Conference 2008’

These are my notes from session 4, ‘Quick and light solutions’, of the UK Museums on the Web Conference 2008. In the interests of getting my notes up quickly I’m putting them up pretty much ‘as is’, so they’re still rough around the edges. There are quite a few sections below which need to be updated when the presentations or photos of slides go online. [These notes would have been up a lot sooner if my laptop hadn’t finally given up the ghost over the weekend.]

Frankie Roberto, ‘The guerrilla approach to aggregating online collections’
He doesn’t have slides, he’s presenting using Firefox 3. [You can also read Frankie’s post about his presentation on his blog.]

His projects came out of last year’s mashed museum day, where the lack of re-usable cultural heritage data online was a real issue. Talk in the pub turned to ‘the dark side’ of obtaining data – screen scraping was one idea. Then the idea of FoI requests came up, and Frankie ended up sending Freedom of Information requests to national museums in any electronic format with some kind of structure.

He’s not showing site he presented at Montreal, it should be online soon and he’ll release the code.

Frankie demonstrated the Science Museum object wiki.

[I found ‘how it works’ as focus of the object text on the Science Museum wiki a really interesting way of writing object descriptions, it could work well for other projects.]

He has concerns about big top down projects so he’s suggesting five small or niche projects. He asked himself, how do people relate to objects?
1. Lots of people say, “I’ve got one of these” so: ivegotoneofthose.com – put objects up, people can hit button to say ‘I have one of those’. The raw numbers could be interesting.
[I suggested this for Exploring 20th Century London at one point, but with a bit more user-generated content so that people could upload photos of their object at home or stories about how they got it, etc. I suppose ivegotoneofthose.com could be built so that it also lets people add content about their particular thing, then ideally that could be pulled back into and displayed on a museum site like Exploring. Would ivegotoneofthose.com sit on top of a federated collections search or would it have its own object list?]
2. Looking at TheyWorkForYou.com, he suggests: TheyCollectForYou.com – scan acquisition forms, publish feeds of which curators have bought what objects. [Bringing transparency to the acquisition process?]
3. Looking at howstuffworks.com, what about howstuffworked.com?
4. ‘what should we collect next?’ – opening up discourse on purchasing. Frankie took the quote from Indiana Jones: thatbelongsinamuseum.com – people can nominate things that should be in a museum.
5. pricelessartefact.com – [crowdsourcing object evaluation?] – comparing objects to see which is the most valuable, however ‘valuable’ is defined.
[Except that possibly opens the museum to further risk of having stuff nicked to order]

Fiona Romeo, ‘Different ways of seeing online collections’
I didn’t take many detailed notes for this paper, but you can see my notes on a previous presentation at Notes from ‘Maritime Memorials, visualised’ at MCG’s Spring Conference.

Mapping – objects don’t make a lot of sense about themselves, but are compelling as part of information about an expedition, or failed expedition.

They’ll have new map and timeline content launching next month.

Stamen can share information about how they did their geocoding and stuff.

Giving your data out for creative re-use can be as easy as giving out a CSV file.
You always want to have an API or feed when doing any website.
The National Maritime Museum make any data set they can find without licensing restrictions and put it online for creative re-use.

[Slide on approaches to data enhancement.]
Curation is the best approach but it’s time-consuming.

Fiona spoke about her experiments at the mashed museum day – she cut and paste transcript data into IBM’s Many Eyes. It shows that really good tools are available, even if you don’t have resources to work with a company like Stamen.

Mike Ellis presented a summary of the ‘mashed museum’ day held the day before.

Questions, wrap up session
Jon – always assume there (should be) an API

[A question I didn’t ask but posted on twitter: who do we need to get in the room to make sure all these ideas for new approaches to data, to aggregation and federation, new types of experiences of cultural heritage data, etc, actually go somewhere?]

Paul on fears about putting content online: ‘since the state of Florida put pictures of their beaches on their website, no-one goes to the beach anymore’.

Metrics:
Mike: need to go shout at DCMS about the metrics, need to use more meaningful metrics especially as thinking of something like APIs
Jon: watermark metadata… micro-marketing data.
Fiona: send it out with a wrapper. Make it embeddable.

Question from someone from Guernsey Museum about images online: once you’ve downloaded your nice image its without metadata. George: Flickr like as much data in EXIF as possible. EXIF data isn’t permanent but is useful.

Angela Murphy: wrappers are important for curators, as they’re more willing to let things go if people can get back to the original source.

Me, referring back to the first session of the day: what were Lee Iverson’s issues with the keynote speech? Lee: partly about the role of institution like the BBC in modern space. National broadcaster should set social common ground, be a fundamental part of democratic discussion. It’s even more important now because of variety of sources out there, people shutting off or being selective about information sources to cope with information overload. Disparate source mean no middle ground or possibility of discussion. BBC should ‘let it go’ – send the data out. The metric becomes how widely does it spread, where does it show up? If restricted to non-commercial use then [strangling use/innovation].

The ‘net recomender’ thing is a flawed metric – you don’t recommend something you disagree with, something that is new or difficult knowledge. What gets recommended is a video of a cute 8 year old playing Guitar Hero really well. People avoid things that challenge them.

Fiona – the advantage of the ‘net recomender’ is it’s taking judgement of quality outside originating institution.

Paul asked who wondered why 7 – 8 on scale of 10 is neutral for British people, would have thought it’s 5 – 6.

Angela: we should push data to DCMS instead of expecting them to know what they could ask for.

George: it’s opportunity to change the way success is measured. Anita Roddick says ‘when the community gives you wealth, it’s time to give it back’. [Show, don’t tell] – what would happen if you were to send a video of people engaging instead of just sending a spreadsheet?

Final round comments
Fiona: personal measure of success – creating culture of innovation, engagement, creating vibrant environment.

Paul: success is getting other people to agree with what we’ve been talking about [at the mashed museum day and conference] the past two days. [yes yes yes!] A measure of success was how a CEO reacted to discovering videos about their institution on YouTube – he didn’t try to shut it down, but asked, ‘how we can engage with that’

Ross on ‘take home’ ideas for the conference
Collections – we conflate many definitions in our discussions – images, records, web pages about collections.

Our tone has changed. Delivery changed – realignment of axis of powers, MLA’s Digital portfolio is disappearing, there’s a vacuum. Who will fill it? The Collections Trust, National Museum Directors’ Conference? Technology’s not a problem, it’s the cultural, human factors. We need to talk about where the tensions are, we’ve been papering over the cracks. Institutional relationships.

The language has changed – it was about digitisation, accessibility, funding. Three words today – beauty, poetry, life. We’re entering an exciting moment.

What’s the role of the Museums Computer Group – how and what can the MCG do?