Category: Museums, libraries and archives

Some leads on game design in the UK

Today I passed on a query from @fayenicole: '…know anybody who could run a retro-style game design workshop for teenagers at the British Museum?' on twitter and got a bunch of responses. Since people were so generous with their time, I thought I'd take a few minutes to collate them so they're available the next time someone has a similar query.  Feel free to add further suggestions in the comments, particularly for people or agencies who are keen to work with museums and cultural heritage organisations.

In other news, I learned this week that 'MT' means 'modified tweet' and signifies when someone's shortened or otherwise changed something they're retweeting.  Mmm, learning.

Notes from Culture Hack Day (#chd11)

Culture Hack Day (#chd11) was organised by the Royal Opera House (the team being @rachelcoldicutt, @katybeale, @beyongolia, @mildlydiverting, @dracos – and congratulations to them all on an excellent event). As well as a hack event running over two days, they had a session of five minute 'lightning talks' on Saturday, with generous time for discussion between sessions. This worked quite well for providing an entry point to the event for the non-technical, and some interesting discussion resulted from it. My notes are particularly rough this time as I have one arm in a sling and typing my hand-written notes is slow.

Lightning Talks
Tom Uglow @tomux “What if the Web is a Fad?”
'We're good at managing data but not yet good at turning it into things that are more than points of data.' The future is about physical world, making things real and touchable.

Clare Reddington, @clarered, “What if We Forget about Screens and Make Real Things?”
Some ace examples of real things: Dream Director; Nuage Vert (Helsinki power station projected power consumption of city onto smoke from station – changed people's behaviour through ambient augmentation of the city); Tweeture (a conch, 'permission object' designed to get people looking up from their screens, start conversations); National Vending Machine from Dutch museum.

Leila Johnston, @finalbullet talked about why the world is already fun, and looking at the world with fresh eyes. Chromaroma made Oyster cards into toys, playing with our digital footprint.

Discussion kicked off by Simon Jenkins about helping people get it (benefits of open data etc) – CR – it's about organisational change, fears about transparency, directors don't come to events like this. Understand what's meant by value – cultural and social as well as economic. Don't forget audiences, it has to be meaningful for the people we're making it (cultural products) for'.

Comment from @fidotheCultural heritage orgs have been screwed over by software companies. There's a disconnect between beautiful hacks around the edges and things that make people's lives easier. [Yes! People who work in cultural heritage orgs often have to deal with clunky tools, difficult or vendor-dependent data export proccesses, agencies that over-promise and under-deliver. In my experience, cultural orgs don't usually have internal skills for scoping and procuring software or selecting agencies so of course they get screwed over.]

TU: desire to be tangible is becoming more prevalent, data to enhance human experience, the relationship between culture and the way we live our lives.

CR: don't spend the rest of the afternoon reinforcing silos, shouldn't be a dichotomy between cultural heritage people and technologists. [Quick plug for http://museum30.ning.com/, http://groups.google.com/group/antiquist, http://museum-api.pbwiki.com/ and http://museumscomputergroup.org.uk/email-list/ as places where people interested in intersection between cultural heritage and technology can mingle – please let me know of any others!] Mutual respect is required.

Tom Armitage, @infovore “Sod big data and mashups: why not hack on making art?”
Making culture is more important than using it. 3 trends: 1) collection – tools to slice and dice across time or themes; 2) magic materials 3) mechanical art, displays the shape of the original content; 3a) satire – @kanyejordan 'a joke so good a machine could make it'.

Tom Dunbar, @willyouhelp – story-telling possibilites of metadata embedded in media e.g. video [check out Waisda? for game designed to get metdata added to audio-visual archives]. Metadata could be actors, characters, props, action…

Discussion [?]:remixing in itself isn't always interesting. Skillful appropriation across formats… Universe of editors, filterers, not only creators. 'in editing you end up making new things'.

Matthew Somerville, @dracos, Theatricalia, “What if You Never Needed to Miss a Show?”
'Quite selfish', makes things he needs. Wants not to miss theatre productions with people he likes in/working on them. Theatricalia also collects stories about productions. [But in discussion it came up that the National Theatre asked him to remove data – why?! A recommendation system would definitely get me seeing more theatre, and I say that as a fairly regular but uninformed theatre-goer who relies on word-of-mouth to decide where to spend ticket money.]

Nick Harkaway, @Harkaway on IP and privacy
IP as way of ringfencing intangible ideas, requiing consent to use. Privacy is the same. Not exciting, kind of annoying but need to find ways to make it work more smoothly while still proving protection. 'Buying is voting', if you buy from Tesco, you are endorsing their policies. 'Code for the change you want to see in the world', build the tools you want cultural orgs to have so they can do better. [Update: Nick has posted his own notes at Notes from Culture Hack Day. I really liked the way he brought ethical considerations to hack enthusiasm for pushing the boundaries of what's possible – the ability to say 'no' is important even if a pain for others.]

Chris Thorpe, @jaggeree. ArtFinder, “What if you could see through the walls of every museum and something could tell you if you’d like it?”

Culture for people who don't know much about culture. Cultural buildings obscure the content inside, stop people being surprised by what's available. It's hard if you don't know where to start. Go for user-centric information. Government Art Collection Explorer – ace! Wants an angel for art galleries to whisper information about the art in his ear. Wants people to look at the art, not the screen of their device [museums also have this concern]. SAP – situated audio platform. Wants a 'flight data recorder' for trips around cultural places.

Discussion around causes of fear and resistance to open data – what do cultural orgs fear and how can they learn more and relax? Fear of loss of provenance – response was that for developers displaying provenance alongside the data gives it credibility; counter-response was that organisations don't realise that's possible. [My view is that the easiest way to get this to change is to change the metrics by which cultural heritage organisations are judged, and resolve the tension between demands to commercialise content to supplement government grants and demands for open access to that same data. Many museums have developed hybrid 'free tombstone, low-res, paid-for high-res' models to deal with this, but it's taken years of negotiation in each institution.] I also ranted about some of these issues at OpenTech 2010, notes at 'Museums meet the 21st century'.

Other discussion and notes from twitter – re soap/drama characters tweeting – I managed to out myself as a Neighbours watcher but it was worth it to share that Neighbours characters tweet and use Facebook. Facebook relationship status updates and events have been included as plot points, and references are made to twitter but not to the accounts of the characters active on the service. I wonder if it's script writers or marketing people who write the characters tweets? They also tweet in sync with the Australian showings, which raises issues around spoilers and international viewers.

Someone said 'people don't want to interact with cultural institutions online. They want to interact with their content' but I think that's really dependent on the definition of content – as pointed out, points of data have limited utility without further context. There's a catch-22 between cultural orgs not yet making really engaging data and audiences not yet demanding it, hopefully hack days like CHD11 help bridge the gap and turn data into stories and other meaningful content. We're coming up against the limits of what can be dome programmatically, especially given variation in quality and extent of cultural heritage data (and most of it is data rather than content).

[Update: after writing this I found a post The lightning talks at Culture Hack Day about the day, which happily picks up on lots of bits I missed. Oh, and another, by Roo Reynolds.]

After the lightning talks I popped over the road to check out the hacking and ended up getting sucked in (the lure of free pizza had a powerful effect!).  I worked on a WordPress plugin with Ian Ibbotson @ianibbo that lets you search for a term on the Culture Grid repository and imports the resulting objects into my museum metadata games so that you can play with objects based on your favourite topic.  I've put the code on github [https://github.com/mialondon/mmg-import] and will move it from my staging server to live over the next few days so people can play with the objects.  It's such a pain only having one hand, and I'm very grateful to Ian for the chance to work together and actually get some code written.  This work means that any organisation that's contributed records to the Culture Grid can start to get back tags or facts to enhance their collections, based on data generated by people playing the games.  The current 300-ish objects have about 4400 tags and 30 facts, so that's not bad for a freebie. OTOH, I don't know of many museums with the ability to display content created by others on their collections pages or store it in their collections management systems – something for another hack day?

Something I think I'll play around with a bit more is the idea of giving cultural heritage data a quality rating as it's ingested.  We discussed whether the ratings would be local to an app (as they could be based on the particular requirements of that application) or generalised and recorded in the CultureGrid service.  You could record the provence of a rating which might be an approach that combines the benefits of both approaches.  At the moment, my requirements for a 'high quality' record would be: title (e.g. 'The Ashes trophy', if the object has one), name or type of object (e.g. cup), date, place, decent sized image, description.

Finally, if you're interested in hacking around cultural heritage data, there's also historyhackday next weekend. I'm hoping to pop in (dependent on fracture and MSc dissertation), not least because in March I'm starting a PhD in digital humanities, looking at participatory digitisation of geo-located historical material (i.e. getting people to share the transcriptions and other snippets of ad hoc digitisation they do as part of their research) and it's all hugely relevant.

Interview about museum metadata games and a pretty picture

I haven't had a chance to follow up Design constraints and research questions: museum metadata games with a post about the design process for the museum metadata games I've made for my dissertation project (because, stupidly, I slipped on black ice and damaged my wrist), so in the meantime here's a link to an interview Seb Chan did with me for the Fresh+New blog, Interview with Mia Ridge on museum metadata games, and a Wordle of the tags added so far.

There have been nearly 700 turns on the games so far, which have collectively added about 30 facts (Donald’s detective puzzle) and just over 3,700 tags (Dora’s lost data).

Some of the 1,582 unique tags added so far

What would a digital museum be like if there was never a physical museum?

This is partly an experiment in live-blogging a conversation that's mostly happening on twitter – in trying to bridge the divide between conversation that anyone can jump into, and a sometimes intimidating comment box on an individual blog; and partly a chance to be brave about doing my thinking in public and posing a question before I've worked out my own answer…

I've been thinking about the question 'if physical museums were never invented, how would we have invented digital museums?' for a while (I was going to talk about this at GLAM-WIKI but decided not to subject people to a rambling thought piece exploring the question).  By this I don't mean a museum without objects, rather 'what if museums weren't conceived as central venues?'.  Today, in the spirit of avoiding a tricky bit of PHP I have to deal with on my day off, I tweeted: "Museums on the web, social media, apps – stories in your everyday life; visiting physical museum – special treat, experience space, objects?".  By understanding how the physical museum has shaped our thinking, can we come up with models that make the most of the strengths, and minimise the weaknesses, of digital and physical museums? How and where can people experience museum collections, objects, stories, knowledge? How would the phenomenology of a digital museum, a digital object, be experienced?

And what is a 'museum' anyway, if it's not represented by a building?  In another twitter conversation, I realised my definition is something like: museums are for collections of things and the knowledge around them.

Then a bit of explanation: "Previous tweet is part of me thinking re role of digital in museums; how to reconcile internal focus on physical with reach of digital etc" (the second part has a lot to do with a new gallery opening today at work, and casting my mind back to the opening of Who Am I? and Antenna in June).

Denver Art Museum's Koven J. Smith has been discussing similar questions: 'What things do museums do *exclusively* because of tradition? If you were building a museum from scratch, what would you do differently?'. My response was "a museum invented now would be conversational and authoritative – here's this thing, and here's why it's cool".


Other questions: Did the existence of the earlier model muddy our thinking?  How can we make online, mobile or app visitors as visible (and as important) as physical visitors?  (I never want to see another email talking about 'real [i.e. physical] and online' visitors).

So, what do you think?  And if you've come here from twitter, I'd be so thrilled if you bridged the divided and commented!  I'll also update with quotes from tweets but that'll probably be slower than commenting directly.

Anyway, I can see lots of comments coming in from twitter so I'm going to hit 'publish post' now…

[Update – as it turns out, 'live blogging' has mostly turned into me updating the post with clarifications, and continuing discussion in the comments. I find myself reluctant to re-contextualise people's tweets in a post, but maybe I'm just too sensitive about accidentally co-opting other people's voices/content.  If you want to share something on twitter rather than in a comment, I'm @mia_out.]

Museums and iterative agility: do your ideas get oxygen?

Re-visiting the results of the survey I ran about issues facing museum technologists has inspired me to gather together some great pieces I've read on museum projects moving away from detailed up-front briefs and specifications toward iterative and/or agile development.

In 'WaterWorx – our first in-gallery iPad interactive at the Powerhouse Museum', Seb Chan writes:

"the process by which this game was developed was in itself very different for us. … Rather than an explicit and ‘completed’ brief be given to Digital Eskimo, the game developed using an iterative and agile methodology, begun by a process that they call ‘considered design‘. This brought together stakeholders and potential users all the way through the development process with ‘real working prototypes’ being delivered along the way – something which is pretty common for how websites and web applications are made, but is still unfortunately not common practice for exhibition development."

I'd also recommend the presentation 'Play at Work: Applying Agile Methods to Museum Website Development' given at the 2010 Museum Computer Network Conference by Dana Mitroff Silvers and Alon Salant for examples of how user stories were used to identify requirements and prioritise development, and for an insight into how games can be used to get everyone working in an agile way.  If their presentation inspires you, you can find games you can play with people to help everyone understand various agile, scrum and other project management techniques and approaches at tastycupcakes.com.

I'm really excited by these examples, as I'm probably not alone in worrying about the mis-match between industry-standard technology project management methods and museum processes. In a 'lunchtime manifesto' written in early 2009, I hoped the sector would be able to 'figure out agile project structures that funders and bid writers can also understand and buy into' – maybe we're finally at that point.

And from outside the museum sector, a view on why up-front briefs don't work for projects that where user experience design is important.  Peter Merholz of Adaptive Path writes:

"1. The nature of the user experience problems are typically too complex and nuanced to be articulated explicitly in a brief. Because of that, good user experience work requires ongoing collaboration with the client. Ideally, client and agency basically work as one big team.

2. Unlike the marketing communications that ad agencies develop, user experience solutions will need to live on, and evolve, within the clients’ business. If you haven’t deeply involved the client throughout your process, there is a high likelihood that the client will be unable to maintain whatever you produce."

Finally, a challenge to the perfectionism of museums.  Matt Mullenweg (of WordPress fame), writes in '1.0 Is the Loneliest Number': 'if you’re not embarrassed when you ship your first version you waited too long'.  Ok, so that might be a bit difficult for museums to cope with, but what if it was ok to release your beta websites to the public?  Mullenweg makes a strong case for iterating in public:

"Usage is like oxygen for ideas. You can never fully anticipate how an audience is going to react to something you’ve created until it’s out there. That means every moment you’re working on something without it being in the public it’s actually dying, deprived of the oxygen of the real world.

…

By shipping early and often you have the unique competitive advantage of hearing from real people what they think of your work, which in best case helps you anticipate market direction, and in worst case gives you a few people rooting for you that you can email when your team pivots to a new idea. Nothing can recreate the crucible of real usage.

You think your business is different, that you’re only going to have one shot at press and everything needs to be perfect for when Techcrunch brings the world to your door. But if you only have one shot at getting an audience, you’re doing it wrong."

* The Merholz article above is great because you can play a fun game with the paragraph below – in your museum, what job titles would you put in place of 'art director' and 'copywriter'?  Answers in a comment, if you dare!  I think it feels particularly relevant because of the number of survey responses that suggested museums still aren't very good at applying the expertise of their museum technologists.

"One thing I haven’t yet touched on is the legacy ad agency practice where the art director and copywriter are the voices that matter, and the rest of the team exists to serve their bidding. This might be fine in communications work, but in user experience, where utility is king, this means that the people who best understand user engagement are often the least empowered to do anything about it, while those who have little true understanding of the medium are put in charge. In user experience, design teams need to recognize that great ideas can come from anywhere, and are not just the purview of a creative director."

—
If you liked this post, you may also be interested in Confluence on digital channels; technologists and organisational change? (29 September 2012) and A call for agile museum projects (a lunchtime manifesto) (10 March 2009).

Survey results: issues facing museum technologists

In August 2010 I asked museum technologists to take a survey designed to help me understand and communicate the challenges faced by other museum technologists (as reported in 'What would you change about your workplace? A survey for museum technologists', and as promised, I'm sharing the results (a little later than intended, but various galleries and my dissertation have been keeping me busy).

There were 79 responses in total, (49 complete responses, the rest were partial).  According to SurveyGizmo's reporting the survey had responses from 10 countries.  The vast majority were from the UK (36%) and the US (49%), possibly reflecting the UK and US focus of the email lists where I publicised the survey.  Respondents were based in a wide range of art, history, science, local authority/government, university and specialist museums (in almost any combination you can think of) and had a variety of roles, including content, technical, project managers and managerial titles.  As reported originally, for the purposes of the survey I defined 'museum technologist' as someone who has expertise and/or significant experience in the museum sector and with the application or development of new technologies.

I've done my own coding work on the results, which I could also share, but I suspect there's more value in the raw results.  I'm also sharing the results to the first two questions as CSV files (compatible with most applications) so you can download and analyse the data: CSV: As a museum technologist, what are the three most frustrating things about your job?, CSV: List any solutions for each of the problems you listed above.  Please note that the data in these files is alphabetised by row, so you should not correlate responses by row number.

My thanks to the people who took the time to respond – I hope there's some value for you in this sampling of the challenges and joys of digital work in museums.  I'd love to hear from you if you use the results, either in a comment or via email.

Question 1: As a museum technologist, what are the three most frustrating things about your job?

First response box:

An institutional culture that values curatorial opinion over the expertise of technologists
Bad management
Becoming impossible to do new work AND maintain existing sites.
Bureaucracy
Central ICT department not being supportive
Colleagues who think of things digital as somehow separate and of lesser importance
Committees
Convincing administration of the value of new technology
Difficulty accessing social networking sites/FTP/etc through Council systems
Funding (lack of)
Going over the same ground again and again
I spend a lot of time doing non-tech work, or helping people with basic IT issues
IT department not implementing effective change management and training.
IT dept walls
IT infrastructure – restrictions and problems
Image rights
Institutional IT provision
Justifying new technologies
Lack of Resources (People)
Lack of clear copyright procedure hampers the greatest ideas
Lack of committment reuslting in long drawn out meetings that never go anywhere
Lack of communication
Lack of decision making from senior management at early stages in the project
Lack of interest in updating technology
Lack of planning
Lack of power to influence major decision making
Lack of resources for web tools/infrastructure
Lack of understanding of what we (as technologists) are trying to achieve
Lack of updated skills in co-workers
Lukewarm funding
Overcoming bureaucracy and overly cautious policy to try new technologies in a timely manner
Pace of sign off
People assuming I know everything about every technology
Senior managment attitudes
Trying to encourage change for the greater good
Unreasonable objectives
Varying age of equipment
Working within IT limitations
Working within existing budgets
bureaucratic oversight
clarity & simplicity of goals
data migration
dfdf
fear of change
getting buy in from people who don't understand the technology
imprecise demands
insufficient staff resources
lack of communication between team members
lack of vision
lengh of time from concept to implementation (it is too long)
mmmm
no $$ for training
not being included early enough in planning processes
not enough time
reactionary IT managers
too many stakeholders and a very conservative attitude to sign off
unrealistic expectations
Getting the management of the museum to take the web seriously and use it themselves to try to understand it
The decentralized culture of our Museum. Each department is doing their own thing, which makes it difficult to access needs, plan for improvements, allocate resources and staff efficiently.
The little understanding colleagues have of the challenges faced (e.g. building a professional website is doable in 1 week with a 300€ budget)
Lack of understanding of digital audiences, trends, issues and technologies by those commissioning digital projects (I call it 'and then it needs a website' syndrome
The organizational structure of the museum. The IT Department should be for networking, desktop support and infrastructure but instead they end up being the ones who call the shots about applications and systems.
Integrating our technologies and ideas into the museum's IT infrastructure e.g. wireless hubs, installing software, updating software etc.

Second response box:

"shiny new toy" syndrom
Assortment of operating systems
Bureaucracy
Changing priorites
Enforcing efficient use of storage space (delete your DUPES!)
Excessive review cycles
Gaining buy-in from overworked staff who need to contribute to tech project
Getting curators to take the web seriously and want to use it
Having other people re-invent things I invented 10 years ago
Institutional IT provision
Institutional blindness to the outside world (i.e., "nobody actually trusts Wikipedia")
Interdepartmental Workflow
Internal "Ownership" of information
Justifying the expense/time of trialling and sharing new ideas
Lack of Finance
Lack of appreciation for the amount of work involved
Lack of funding
Lack of medium/long term visions
Lack of shared museum assets (inter and intra)
Lack of understanding of digital media by senior executives
Lack of understanding of my role at more senior levels and by my peers
Non-existent budgets
Ph.D syndrome.
Some staff negativity about integrating new technologies
Stodgy curators
Tempering desire with reality
Time to just 'play' with new technologies
Too many egos
Too many people involved
Too many tasks seen as top-priority without enough support to get them done.
Understaffed and underfunded
Unwillingness to try small cheap ideas (on the understanding that if they don't work you stop)
Upper management not grasping value of online outreach
Working in isolation
board and execs who are focused on shiny objects, not mission
dealing with the ramifications of technology decisions made by non-technical employees
entrenched views on how things should be done
funding and management structures that lead to short term, siloed thinking
inability to ack quickly and be flexible (cumbesome review process ties up projects)
inablility of coworker to understand projects
institutional resources
lack of staff time or positions alotted to technology (two minds are better than one)
mmm
no say over even how our web page is designed
not enough money
poor instructions
sparse training
tendency for time to get sucked into general office work
unprofessionalism
unreasonable expectations
unwillingness to fund projects
Lack of understanding in the wider museum of the work that we do and the potentials of technologies in learning.
People in museum administration often know less about technologies than their counterpart in the private sector.
Lack of training offered on national scale for those who are beyond beginner level with technology but not an expert
Not having admin rights to my computer and not being allowed to connect my own laptop to the work network
The expectation of a high-impact web presence without making the appropriate content available (in time)
Never knowing what others departments are doing, but still being expected to "fix" whatever when it goes down.
The little commitment others (even people asked/hired to do so) have towards social media, even after tons of workshops.
Turf wars – different staff not working toward a consensus; arguments are recycled and nothing is ever finalized
redundancy–for example, entering metadata for an image from an external source and entering it into our DAM
Funding is spread unevenly. New galleries might come with big pots of money but it's much harder to fund work on existing sites and sections.
Lack of IT understanding by other staff in the museum and in some cases a negative attitude to putting stuff online

Third response box:

"non-profit" pay and no insurance
Always defending my position to condescending curators
Assortment of learning curves among staff
Balancing the demands of day to day tasks with the desire to expand IT use
Bending commercial products to our own needs.
Communication barriers
Conflicting messages about the purpose of online – is it to generate income or provide access?
Cross departmental walls
Cultural stigmatism
Curators/educators living in the dark ages!
Difficulty finding funding/support for less visible tech projects (content architecture, etc.)
Division between web/curatorial/education/etc.
Everyone is scared
Explaining complex systems to co-workers with limited tech background
Getting "sign off"
Hard to sell technology (APIs, etc) to staff who just want their event on the homepage.
Institutional IT provision
Keeping up with web science/standards
Lack of by in by senior management
Lack of change management at institutions
Lack of communication
Lack of professional development
Lack of support
Little allowance to "try out" tech tools/software/web
No time to experiment and try out new things
Projects never finished
Reliance on external consultants
Secret stakeholders appearing late in the production cycle
Software provider lack of focus on end users and Web
That every bit of the organisation has to be involved in every project
Too much dependence on content producers, e.g. curators, gallery authors, education staff
Trying to get other colleagues involved in technology!
Willingness of colleague tech adoption
capacity of organizations to take leaps of faith
dealing with art historians
defining projects in terms of ROI
frequent interruptions during thought-intensive work
lack of adminstrative support in the way of $$
lack of forward planning
misunderstanding of implications
mmm
not enough focus on early prototyping before the tech comes in
not enough staff
not enough staff and too many things to do…
not enough time
passive/aggressive behavior
resistance to new technologies on the basis of their perceived danger/risk
strong aversion to risk-taking, which hampers innovation
supporting software that was incorrectly chose (e.g. retrofitting a CMS to act as a DAMS)
user incompetence
wide range knowledgement needed
Magical thinking about technology: somehow hoping projects will be cheap and cutting edge with few resources devoted to them
There's a web/multimedia team, but all the exhibition design is outsourced, so it's difficult to mount integrated digital projects (that work both online and onsite)
disconnects between depts in larger museums, that make it hard to get all those who could contribute to and benefit from digital projects really engaged
Irrational fear of open source; irrational fears concerning access to collection information and even low-res images.
The fact that doing "online stuff" means you have to solve every problem related to technology ("My iPhone doesn't synch my music, help!")
Convincing staff to use project results (this is true for some staff in key positions. Other staff happy to use the results)
my department uses a DAM system, but others outside my department won't use it but want access to the content archived there

Question 2: List any solutions for each of the problems you listed above

First response box:

$$ for training would be easy to get
Better IT training and also digital awareness training for all staff
Better investment
Better organisational understanding of the importance of project management
Better qualified staff – training
Circumnavigating IT when they sya can't do and supporting it all ourselves.
Cloud based
Creative use of budgets – taking parts from several budgets to make a whole
Education
Fewer and smaller
Focusing on the benefits of the new technology when presenting changes to staff
Good management
Greater funding support for equipment
Hiring further staff
IT managers who are less about security and NO and more about innovation
Improve communication by removing large egos
Keeping to meeting agendas and ensuring people involved are enthusiastic about the project
Long term strategy agreed at top levels to ringfence time and money for non-project based work
Lots of demonstrations
Make responsibilities of depts clearer
Meetings, Meetings, Meetings
More independence from IT
More staff!
Much clearer policy on approach to copyright, possibly by museums supporting one another
New, professionally trained management
Sack the lot of them and start again
Strict procedures and continuously stressing how things work and how they don't.
The acknowledgement at senior levels of competence and experience further down the scale
Training in Project Management
Upgrade technology to a consistent level
Willingness to learn
come up with your own
educate administration, show them how other museums are taking advantage, find funding
fundraising
no foreseeable increase in staffing, so no luck here
none in sight
planning
solutions that we have found or solutions we wish for? The questions is confusing.
steel myself to do it once more in a way that means they can't forget it
umm..if I had a solution I'd be rich :)
Adjust the expectations by explaining the process more in depth and always provide more conservative time estimates, and times that by 150%
We are now submitting a business case to our IT department for us to have access to these sites. Hopefully this will be widened in the future as Council's become more aware of the essential part technology plays in museums.
reallocation of institutional resources to recognise changing technological and social environment
Having highly-placed technologists who are trusted by the museum involved in projects at an early state can help significantly to teach the institution the value of technological expertise.
Advocate your work to anyone who will listen, get involved in projects from the beginning – and try not to let technology lead, only support good ideas
Rethinking contracting policies–especially for Web 2.0 services that are free–and approval processes
Look to private sector technology vendors for workflow and project management techniques and tools or hire consultants (voices from outside are often heard louder than those inside).

Second response box:

$$ we are given we do not always get
Allowing staff to make their own decisions
Cost effective training or events or 'buddying up' to share expertise and experiences
Crossover training
Don't tell, stay away from committees until you have something (good) to show
Encouraging positive comment and activity from outside
Establish an agreed level of autonomy and freedom for web projects
Fix to IT issues that take up so much of my time!
Fundraising specifically for technology as an ongoing need–not just project by project
Involvement of Technologists before design
More educated staff about abilities and weaknesses of technology
More funding and resources for projects
More rewarding work environment
More tech-savvy upper management (happened recently)
More training being offered via bodies such as Museums Galleries Scotland
More trust in teams
New, professionally developed board
Outside normzl dept relationships
Priorities either need coherent justification or to be realigned.
Reassigning permissions
Recruit more staff and do more work in house
Remove large egos
Request more specificity and detail
Speaking to people to explain the complexity and time necessary for project?
Streamlining Project Management
The creation of roles at a senior level with understanding of technology
Training for staff
Trying to get a pot on our web page for e-learning which displays and advocates our work.
agreement on acceptable standards for public facing databases
occasionally half-successful compartmentalization of time spent on specialized and general work
question assumptions
shoot the current managers
sponsorships
strong compromise with staff training
technology being an embedded part of the work, like education
would require a wholesale change in Museum culture – not likely to happen quickly
institution-wide training in Word, PowerPoint, Excel etc AND in newer more interesting tools for presentations (eg Prezi), data visualisation (ManyEyes, Wordle) etc
Increase levels of digital literacy through out organisation and sector by training, workshops and promotion
Write in the importance of technology projects to accomplishing the mission in strategic planning and grant documents and form interdepartmental teams of people to address technology issues and raise technology's profile and comfort level within the institutional culture.
make sure to 'copyright' my own inventions and publicise them before anyone else needs to re-invent them
Show them that colleagues in their field are using the same technology, once they're willing to listen, show how the results will help them, then make participation as easy as possible for them.
If, for every bit of unfounded, unresearched opinion, the technologist can counter with facts about how people actually behave in the world outside the museum, over (large stretches of) time this problem can be gradually allayed.
Presenting the case for how technology can do certain things really well and how it is best find the better fit than to force technology to be what it isn't
Our institution could benefit from professional training on effective communication, but it's not in the budget.
Organising lunches and other team activities to continuously explain and inspire people about new and social media

Third response box:

(Sadly) winning awards
Admin-down promotion of tech initiative adoption
Agreement on stakeholders and sign off processes up front – and sticking to that
Be very strict with project deadlines!
Better communications from the top
Developing a Museum Service strategy for everyone to use IT – like V&A have!
Education
Ensuring that people at senior levels support digital projects
Go and do. Prototype to prove point
Good management
Hired more competent users or remove technically-involved tasks from users
I think we need new ways of demonstrating value other than £s or people through the door
Identify internal skills before commissioning outside consultants
Improved communications – more vision
Informal brown-bag lunches where ideas are pitched and potential explained.
Inventiveness!
Longer timelines, adequate staffing levels
Look for oppurtunity to learn more and implement new systems that help with the day to day work
Make it as easy as possible to use the results
Museums need to start thinking more like libraries
No idea how we can make LA central ICt departments more helpful
Outsource all IT relating to web projects
Professional development for staff
Remove large, scary egos
Smile, help them, and complain in silence.
Some inovative young blood in these roles
Technologists in upper management
Try something small as a pilot to reveal realistic benefits and pitfalls
act of God
bringing techies into the development process earlier in a new exhibit etc.
ditto
effective allocation of scarce resources
rewriting job descriptions to incorporate tech initiatives into everyday tasks
specialization
there is no solution for art historians except possibly to keep them out of museums and galleries
time-shifting certain kinds of work to early morning or evening, outside regular hours
Trying to find public outputs of infrastructure-related technology can help with this problem. The way some museums have begun using collections APIs as, in essence, a PR tool, is a good example of this approach.

Selected responses to Question 3: Any comments on this survey or on the issues raised?

Some comments were about the survey itself (and one comment asked not to be quoted, so I've played it safe and not included it) and didn't seem relevant here.

  • Would like to know what other museum staff feel, but am guessing response may be very similar
  • There is still some trepidation and lack of understanding of what it is exactly that digital technology can play in display, interpretation and education programming. Though there are strong peer networks around digital technology, somehow this doesn't get carried over into further advocacy in the sector in general. In my learning department there is some resistance to the idea of technology being used as a means in itself working across audiences, and it instead has to be tied in to other education officers programmes. The lack of space to experiment and really have some time to develop and explore is also sadly missed as we are understaffed and overstretched.
  • Not enough time, money or staff is true of most museum work, but particularly frustrating when looking at the tools used by the private sector. This imbalance may be part of the source of unreasonable expectations – we've all seen fantastic games and websites and expect that level of quality, but museums have 1/1000th of the budget of a video game studio.
  • The interdepartmental nature of many tech projects has challenged us to define under whose purview these projects should be managed.
  • In my organisation I find the lack of awareness and also lack of desire to do things online difficult to comprehend in this day and age. It is not universal, fortunately the Head of Service gets it but other managers don't. I'm fed up hearing 'if its online they won't visit' and I'm afraid I've given up trying to convince them, instead I tend to just work with the people who can see that putting stuff online can encourage visitors and enhance visits for visitors.
  • Being a federal institution, we receive funds for physical infrastructure, but rarely for technical infrastructure. I would say fear around copyright of digitized collections is a barrier as well.
  • Until the culture of an institution of my size changes at the top, it will continue to be a challenge to get anything through in a timely manner.
  • Funding and resources (staff, time, etc.) are the main roadblock to taking full advantage of the technology that's out there.
  • There needs to be a way to build a proper team within the museum structure and make silos of information available.
  • I think the frustrations I raised are exactly the reason why some of us are in the museum sector – for the challenge.
  • We are fortunate in that we have a very forward-looking Board of Trustees, a visionary CEO and a tech team that truly loves what they do. But we – like any non-profit – are always limited by money and time. We've got loads of great ideas and great talent – we just need the means and the time to be able to bring them to fruition! We have actually rewritten job descriptions to make certain things part of people's everyday workflow and that has helped. Our CEO has also made our technological initiatives (our IVC studios, our online presence, our virtual museum….) part of our strategic plan. So we are extremely fortunate in those respects!
  • I am a content creator, rather than a technie, but as my role is digital, everyone assumes I understand every code language and technological IT issue that there is. And I don't.
  • why is it that those who are not involved in our work have so much to say about how we do our work down to the last detail
  • One of the largest problems faced by IT staff in museums is the need to push the envelop of technology while working within very limited budgets. There is always a desire to build the newest and best, but a reluctance to staff and budget for the upkeep and eventual use and maintenance of the new systems. That said, working for a museum environment offers more variety and interesting projects than any for-profit job could ever provide.

What would Phar Lap do? AKA, what happens when Facebook and museum URIs meet a dead horse?

Phar Lap was a famous race horse.  After he died (in film-worthy suspicious circumstances), bits of Phar Lap ended up in three different museums – his skin is at Melbourne Museum, his skeleton is at Te Papa in Wellington, NZ, and his heart is in Canberra at the National Museum of Australia.

I've always been fascinated by the way the public respond to Phar Lap – when I worked at Museum Victoria, the outreach team would regularly get emails written to Phar Lap by people who had seen the film or somehow come across his story.  (I was also never quite sure why they thought emailing a dead horse would work).  So when I first heard that Phar Lap was on Facebook, I was curious to see which museum would have 'claimed' Phar Lap.  Does possession of the most charismatic object (the hide) make it easier for Melbourne Museum to step up as the presence of Phar Lap on social media, or were they just the first to be in that space?  The issues around 'ownership' and right to speak for an iconic object like Phar Lap make a brilliant case study for how museums represent their collections online.

And today, when I came across three posts (Responses to "Progress on Museum URIs", Progress on Museum URIs by @sebastianheath, Identifing Objects in Museum Collections by @ekansa) on movements towards stable museum URIs that problematised the "politics of naming and identifying cultural heritage" and the concept of the "exclusive right of museums to identify their objects", I thought of Phar Lap.  (Which is nice, cos 80 years and one day ago he won the Melbourne Cup).

Of the three museums that own bits of the dead horse, which gets to publish the canonical digital record about Phar Lap? I hope the question sounds silly enough to highlight the challenges and opportunities in translating physical models to the digital realm. Of course each museum can publish a record (specifically, mint a URI) about Phar Lap (and I hope they do) but none of the museums could prevent the others from publishing (and hopefully they wouldn't want to).

Or as the various blog posts said, "many agents can assert an identity for an object, with those identities together forming a distributed and diverse commentary on the human past", and museums need to play their part: "a common identifier promoted by and discoverable at the holding institution will ease the process of recognizing that two or more identifiers refer to the 'same thing'".

Of course it's not that simple, and if you're interested in the questions the museum sector (by which I hopefully don't only mean me) is grappling with, the museums and the machine-processable web page on Permanent IDs has links to discussions on the MCG list, and I've wrestled a bit with how URIs might look at the Science Museum/NMSI (and I need to go back and review the comments left by various generous people).  I'd love to know what other museums are planning, and what consumers of the data might need, so that we can come up with a robust common model for museum URIs.

And to reward you for getting this far, here is a picture of Phar Lap on Facebook as his skin and bones are about to be re-united:

UK Culture Grid wants to know what developers need – get in!

Neil Smith from Knowledge Integration dropped by the Museums and the machine-processable web wiki to ask what users (developers) need to get data in and out of the Culture Grid:

To support the ambitious targets for increasing the number of item records in Culture Grid, we thought know would be a good time to review the venerable old application profile we use for importing metadata into the Grid. I've added a discussion page reviewing options at http://museum-api.pbworks.com/w/page/Culture-Grid-Profile.

We really want the community to be involved in helping ensure that whatever profile (or profiles) we support will meet the needs of users – not only for getting things into the grid but also for getting things out in a format that is useful to them. Although the paper focusses mainly on XML representations of metadata, we're also interested in your views on whether non-XML representations (e.g RDF or JSON) need to be supported.

So whether you work in a museum or are an external developer who'd like to use museum data, I'd encourage you to think about the four options Neil outlines, and to comment, ask questions, share sample data, vote for your favourite option, whatever, on the Culture Grid Profile page.  One of the options is to develop a new model – definitely more time-consuming, but a great opportunity to make your needs known.

As an indication of the type of content that's available through the Culture Grid, I've copied this text from some of their about pages: "It contains over 1 million records from over 50 UK collections, covering a huge range of topics and periods.  Records mostly refer to images but also text, audio and video resources and are mostly about museum objects with library, archive and other kinds of collections also included."  So, that's:

  • "information about items in collections (referencing the images, video, audio or other material you offer online about the things in your collections)
  • information about collections as a whole (their scope, significance and access details)
  • information about collecting organisations (contact and access details)"

There's a lot of cultural heritage and tech jargon involved on the Culture Grid Profile discussion page – don't hold back on asking for clarifications where needed.  I'm certainly not an expert on the various schemas and it's a very long time since I helped work out the Exploring 20th Century London extensions for the original PNDS, but I've given it a go.

If you've read this far, you might also be interested in the first ever Culture Grid Hack Day in Newcastle Upon Tyne on December 3, 2010.

Notes from Europeana's Open Culture Conference 2010

The Open Culture 2010 conference was held in Amsterdam on October 14 – 15. These are my notes from the first day (I couldn't stay for the second day). As always, they're a bit rough, and any mistakes are mine. I haven't had a chance to look for the speakers' slides yet so inevitably some bits are missing.  If you're in a hurry, the quote of the day was from Ian Davis: "the goal is not to build a web of data. The goal is to enrich lives through access to information".

The morning was MCd by Costis Dallas and there was a welcome and introduction from the chair of the Europeana Foundation before Jill Cousins (Europeana Foundation) provided an overview of Europeana. I'm sure the figures will be available online, but in summary, they've made good progress in getting from a prototype in 2008 to an operational service in 2010. [Though I have written down that they had 1 million visits in 2010, which is a lot less than a lot of the national museums in the UK though obviously they've had longer to establish a brand and a large percentage of their stats are probably in the 'visit us' areas rather than collections areas.]

Europeana is a super-aggregator, but doesn't show the role of the national or thematic aggregators or portals as providers/collections of content. They're looking to get away from a one-way model to the point where they can get data back out into different places (via APIs etc). They want to move away from being a single destination site to putting information where the user is, to continue their work on advocacy, open source code etc.

Jill discussed various trends, including the idea of an increased understanding that access to culture is the foundation for a creative economy. She mentioned a Kenneth Gilbraith [?] quote on spending more on culture in recession as that's where creative solutions come from [does anyone know the reference?]. Also, in a time of Increasing nationationalism, Europeana provided an example to combat it with example of trans-Euro cooperation and culture. Finally, customer needs are changing as visitors move from passive recipients to active participants in online culture.

Europeana [or the talk?] will follow four paths – aggregration, distribution, facilitation, engagement.

  • Aggregation – build the trusted source for European digital cultural material. Source curated content, linked data, data enrichment, multilinguality, persistent identifiers. 13 million objects but 18-20thC dominance; only 2% of material is audio-visual [?]. Looking towards publishing metadata as linked open data, to make Europeana and cultural heritage work on the web, e.g. of tagging content with controlled vocabularies – Vikings as tagged by Irish and Norwegian people – from 'pillagers' to 'loving fathers'. They can map between these vocabularies with linked data.
  • Distribution – make the material available to the user wherever they are, whenever they want it. Portals, APIs, widgets, partnerships, getting information into existing school systems.
  • Facilitate innovation in cultural heritage. Knowledge sharing (linked data), IPR business models, policy – advocacy and public domain, data provider agreements. If you write code based on their open sourced applications, they'd love you to commit any code back into Europeana. Also, look at Europeana labs.
  • Engagement – create dialogue and participation. [These slides went quickly, I couldn't keep up]. Examples of the Great War Archive into Europe [?]. Showing the European connection – Art Nouveau works across Europe.

The next talk was Liam Wyatt on 'Peace love and metadata', based in part on his experience at the British Museum, where he volunteered for a month to coordinate the relationship between Wikipedia as representative of the open web [might have mistyped that, it seems quite a mantle to claim] and the BM as representatiave of [missed it]. The goal was to build a proactive relationship of mutual benefit without requiring change in policies or practices of either. [A nice bit of realism because IMO both sides of the museum/Wikipedia relationship are resistant to change and attached firmly to parts of their current models that are in conflict with the other conglomeration.]

The project resulted in 100 new Wikipedia articles, mostly based on the BM/BBC A History of the World in 100 Objects project (AHOW). [Would love to know how many articles were improved as a result too]. They also ran a 'backstage pass' day where Wikipedians come on site, meet with curators, backstage tour, then they sit down and create/update entries. There were also one-on-one collaborators – hooking up Wikipedians and curators/museums with e.g. photos of objects requested.

It's all about improving content, focussing on personal relationshiips, leveraging the communities; it didn't focus on residents (his own work), none of them are content donation projects, every institution has different needs but can do some version of this.

[I'm curious about why it's about bringing Wikipedians into museums and not turning museum people into Wikipedians but I guess that's a whole different project and may be result from the personal relationships anyway.]

Unknown risks are accounted for and overestimated. Unknown rewards are not accounted for and underestimated. [Quoted for truth, and I think this struck a chord with the audience.]

Reasons he's heard for restricting digital access… Most common 'preserving the integrity of the collection' but sounds like need to approve content so can approve of usages. As a result he's seen convoluted copyright claims – it's easy tool to use to retain control.

Derivative works. Commercial use. Different types of free – freedom to use, freedom to study and apply knowledge gained; freedom to make and redistribute copies; [something else].

There are only three applicable licences for Wikipedia. Wikipedia is a non-commercial organisation, but don't accept any non-commercially licenced content as 'it would restrict the freedom of people downstream to re-use the content in innovative ways'. [but this rules out much museum content, whether rightly or not, and with varying sources from legal requirements to preference. Licence wars (see the open source movement) are boring, but the public would have access to more museum content on Wikipedia if that restriction was negotiable. Whether that would outweight the possible 'downstream' benefit is an interesting question.]

Liam asked the audience, do you have a volunteer project in your institution? do you have an e-volunteer program? Well, you do already, you just don't know it. It's a matter of whether you want to engage with them back. You don't have to, and it might be messy.

Wikipedia is not a social network. It is a social construction – it requires a community to exist but socialising is not the goal. Wikipedia is not user generated content. Wikipedia is community curated works. Curated, not only generated. Things can be edited or deleted as well as added [which is always a difficulty for museums thinking about relying on Wikipedia content in the long term, especially as the 'significance' of various objects can be a contested issue.]

Happy datasets are all alike; every unhappy dataset is unhappy in its own way. A good test of data is that it works well with others – technically or legally.

According to Liam, Europeana is the 21st century of the gallery painting – it's a thumbnail gallery but it could be so much more if the content was technically and legally able to be re-used, integrated.
Data already has enough restrictions already e.g. copyright, donor restrictions. but if it comes without restrictions, its a shame to add them. 'Leave the gate as you found it'.

'We're doing the same thing for the same reason for the same people in the same medium, let's do it together.'

The next sessions were 'tasters' of the three thematic tracks of the second part of the day – linked data, user-generated content, and risks and rewards. This was a great idea because I felt like I wasn't totally missing out on the other sessions.

Ian Davis from Talis talked about 'linked open culture' as a preview of the linked data track. How to take practices learned from linked data and apply them to open culture sector. We're always looking for ways to exchange info, communicate more effecively. We're no longer limited by the physicality of information. 'The semantic web fundamentally changes how information, machines and people are connected together'. The semantic web and its powerful network effects are enabling a radical transformation away from islands of data. One question is, does preservation require protection, isolation, or to copy it as widely as possible?

Conjecture 1 – data outlasts code. MARC stays forever, code changes. This implies that open data is more important than open source.
Conjecture 2 – structured data is more valuable than unstructured. Therefore we should seek to structure our data well.
Conjecture 3 – most of the value in our data will be unexpected and unintended. Therefore we should engineer for serendipity.

'Provide and enable' – UK National Archives phrase. Provide things you're good at – use unique expertise and knowledge [missed bits]… enable as many people as possible to use it – licence data for re-use, give important things identifiers, link widely.

'The goal is not to build a web of data. The goal is to enrich lives through access to information.'
[I think this is my new motto – it sums it up so perfectly. Yes, we carry on about the technology, but only so we can get it built – it's the means to an end, not the end itself. It's not about applying acronyms to content, it's about making content more meaningful, retaining its connection to its source and original context, making the terms of use clear and accessible, making it easy to re-use, encouraging people to make applications and websites with it, blah blah blah – but it's all so that more people can have more meaningful relationships with their contemporary and historical worlds.]

Kevin Sumption from the National Maritime Museum presented on the user-generated content track. A look ahead – the cultural sector and new models… User-generated content (UGC) is a broad description for content created by end users rather than traditional publishers. Museums have been active in photo-sharing, social tagging, wikipedia editing.

Crowdsourcing e.g. – reCAPTCHA [digitising books, one registration form at a time]. His team was inspired by the approach, created a project called 'Old Weather' – people review logs of WWI British ships to transcribe the content, especially meterological data. This fills in a gap in the meterological dataset for 1914 – 1918, allows weather in the period to be modelled, contributes to understanding of global weather patterns.

Also working with Oxford Uni, Rutherford Institute, Zooniverse – solar stormwatch – solar weather forecast. The museum is working with research institutions to provide data to solve real-world problems. [Museums can bring audiences to these projects, re-ignite interest in science, you can sit at home or on the train and make real contributions to on-going research – how cool is that?]

Community collecting. e.g. mass observation project 1937 – relaunched now and you can train to become an observer. You get a brief e.g. families on holidays.

BBC WW2 People's War – archive of WWII memories. [check it out]

RunCoCO – tools for people to set up community-lead, generated projects.

Community-lead research – a bit more contentious – e.g. Guardian and MPs expenses. Putting data in hands of public, trusting them to generate content. [Though if you're just getting people to help filter up interesting content for review by trusted sources, it's not that risky].

The final thematic track preview was by Charles Oppenheim from Loughborough University, on the risks and rewards of placing metadata and content on the web. Legal context – authorisation of copyright holder is required for [various acts including putting it on the web] unless… it's out of copyright, have explicit permission from rights holder (not implied licence just cos it's online), permission has been granted under licensing scheme, work has been created by a member of staff or under contract with IP assigned.

Issues with cultural objects – media rich content – multiple layers of rights, multiple rights holders, multiple permissions often required. Who owns what rights? Different media industries have different traditions about giving permission. Orphan works.

Possible non-legal ramifiations of IPR infringements – loss of trust with rights holders/creators; loss of trust with public; damage to reputation/bad press; breach of contract (funding bodies or licensors); additional fees/costs; takedown of content or entire service.

Help is at hand – Strategic Content Alliance toolkit [online].

Copyright less to do with law than with risk management – assess risks and work out how will minimise them.

Risks beyond IPR – defamation; liability for provision of inaccurate information; illegal materials e.g. pornography, pro-terrorism, violent materials, racist materials, Holocaust denial; data protection/privacy breaches; accidental disclosure of confidential information.

High risk – anything you make money from; copying anything that is in copyright and is commercially availabe.
Low risk – orphan works of low commercial value – letters, diaries, amateur photographs, films, recordings known by less known people.
Zero risk stuff.
Risks on the other side of the coin [aka excuses for not putting stuff up]

One reason why (science) museums rock

When I started work at the Science Museum a few years ago, after five years with a social history museum and archaeology service, I was curious about how the additional tasks of communicating scientific principles, contemporary science news and the history of science and technology would affect interpretation, collections and exhibitions. With that in mind, I did some research about science museums and came across an article about the impact of the Palais de la Découverte (a science museum in Paris) translated for me as:

In a recent work entitled 'Comment devient-on scientifique?' (How does one become a scientist?) published by Editions EDP, Florence Guichard indicates the results of a survey undertaken in the Ile-de-France: 60% of scientists over 30 and 40% of scientists under 30 claim, without prompting, that the Palais de la Découverte triggered their vocation. Pierre Gilles of Gennes, the winner of the Nobel prize for Physics is one of those 'lovers' of thePalais de la Découverte who was still visiting the place a few years before his death in 2007.

[Update – coincidentally, the day after posting, I came across another reference to the impact of science museums on children's interest in science:] The evolution of the science museum:

When did scientists first become interested in science? A 1998 survey of 1400 scientists, conducted by the Roper Starch organization for the Bayer Foundation and NSF, reported that a respected adult, such as a parent, was the biggest factor in stimulating childhood interest in science. […] a variety of informalactivities had an effect. […] 76 percent said science museum visits

That's pretty amazing.  But ok, for people who aren't scientists, why does science matter?  Well, for a start, the UK needs to keep up with the rest of the world, and there are global problems that we need scientists to help solve.  At about the same time, President Obama stated in his inaugural address that he would "restore science to its rightful place". Ed Yong, among others, answered the question, so 'what is science's rightful place?':

…underneath all of the detail lie some basic principles that science is built upon and these, I feel, ought to be more mainstream than they perhaps are. We should be strive to be unceasing in our curiosity, rational in our explanations and accurate in our communication. We should value inquiry and the power of evidence to change opinions. We should be unflinching in our search for understanding and the desire to test the world around us.

There is no question in my mind that these tenets should act as guides to our lives (albeit not exclusively; they are necessary, rather than sufficient). This is the greatest contribution of science to society. It acts as a stimulant that keeps us from sleepwalking through a wonderland. It is a cloth that wipes away superstition and myths to reveal an ever-closer approximation of the truth. It is a mental prophylactic that shields our minds from the folly of confirmation bias or the lure of unrepresentative anecdotes.

Tell people about the latest discoveries and many will ask what the significance is to their lives. In some cases, there's no way to answer that – they either appreciate it or they don't. But the very question misses an important point. The actual results may not be relevant but the principles that underlie them most definitely are, and they are omnipresent. Curiosity. Investigation. Communication. What could be more human or more pertinent to our casual existence?

The UK curriculum (key stage 1, key stage 3) aims to teach the value of scientific enquiry and perhaps fire a lifelong 'curiosity about phenomena in the world around them', and I suspect science museums make that teaching just a bit easier.  I know that the majority of people I talk to can still remember their school visit to science museums, but I haven't yet asked them what effect it might have had on their lives – does anyone know of any research?