Category: Museums, libraries and archives

Why do museums prefer Flickr Commons to Wikimedia Commons?

A conversation has sprung up on twitter about why museums prefer Flickr Commons to Wikimedia Commons after Liam Wyatt, Vice President of Wikimedia Australia posted "Flickr Commons is FULL for 2010. GLAMs, Fancy sharing with #Wikimedia commons instead?" and I responded with "has anyone done audience research into why museums prefer Flickr to Wikimedia commons?".  I've asked before because I think it's one of those issues where the points of resistance can be immensely informative.

I was struck by the speed and thoughtfulness of responses from kajsahartig, pekingspring, NickPoole1, richardmccoy and janetedavis, which suggested that the question hit a nerve.

Some of the responses included:

Kasja: Photos from collections have ended up at wikipedia without permission, that never happened with Flickr, could be one reason [and] Or museums are more benevolent when it happens at Flickr, it's seen more as individuals' actions rather than an organisations'?

Nick: Flickr lets you choose CC non-commercial licenses, whereas Wikimedia Commons needs to permit potential commercial use?

Janet: Apart fr better & clear CC licence info, like Flickr Galleries that can be made by all! [and] What I implied but didn't say before: Flickr provides online space for dialogue about and with images.

Richard: Flickr is so much easier to view and search than WM. Commons, and of course easier to upload.

Twitter can be a bit of an echo chamber at times, so I wanted to ask you all the question in a more accessible place.   So, is it true that museums prefer Flickr Commons to Wikimedia Commons, and if so, why?

[Update: Liam's new blog post addresses some of the concerns raised – this responsiveness to the issues is cheering.  (You can get more background at Wikipedia:Advice for the cultural sector and Wikipedia:Conflict of interest.)

Also, for those interested in wikimedia/wikipedia* and museums, there's going to be a workshop 'for exploring and developing policies that will enable museums to better contribute to and use Wikipedia or Wikimedia Commons, and for the Wikimedia community to benefit from the expertise in museums', Wikimedia@MW2010, at Museums at the Web 2010. There's already a thread, 'Wikimedia Foundation projects and the museum community' with some comments.  I'd love to see the 'Incompatible recommendations' section of the GLAM-Wiki page discussed and expanded.

* I'm always tempted to write 'wiki*edia' where * could be 'm' or 'p', but then it sounds like South Park's plane-rium in my head.]

[I should really stop updating, but I found Seb Chan's post on the Powerhouse Museum blog, Why Flickr Commons? (and why Wikimedia Commons is very different) useful, and carlstr summed up a lot of the issues neatly: "One of the reasons is that Flickr is a package (view, comment search aso). WC is a archive of photos for others to use. … I think Wikipedia/Wikimedia have potential for the museum sector, but is much more complex which can be deterrent.".]

Cosmic Collections – the results are in. And can you help us ask the right questions?

For various reasons, the announcement of the winners of our mashup competition has been a bit low key – but we're working on a site that combines the best bits of the winners, and we'll make a bit more of a song and dance about it when that's ready.

I'd like to take the opportunity to personally thank the winners – Simon Willison and Natalie Down in first place, and Ryan Ludwig as runner-up – and equally importantly, those who took part but didn't win; those who had a play and gave us some feedback; those who helped spread the word, and those who cheered along the way.

I have a cheeky final request for your time.  I would normally do a few interviews to get an idea of useful questions for a survey, but it's not been possible lately. I particularly want to get a sense of the right questions to ask in an evaluation because it's been such a tricky project to explain and 'market', and I'm far too close to it to have any perspective.  So if you'd like to help us understand what questions to ask in evaluation, please take our short survey http://www.surveymonkey.com/s/5ZNSCQ6 – or leave a comment here or on the Cosmic Collections wiki.  I'm writing a paper on it at the moment, so hopefully other museums (and also the Science Museum itself) will get to learn from our experiences.

And again – my thanks to those who've already taken the survey – it's been immensely useful, and I really appreciate your honesty and time.

Unintentional (?) Friday funny

It's a long time since I had one of these. I can go on blaming uni assessments and work, but it gets boring.

I assume it's not intentional, but this Guardian article A world of screens and plastic has fed a cultish craving for relics of the past is hilarious, and beautifully quotable. As Linda Spurdle tweeted: 'I missed this training day! "Museum staff are trained to behave as acolytes to their objects.." prob stuck on H & S day'.

On the BBC/BM 'A History of the World': "Since this is radio, we are not allowed to see the objects, thus enhancing the status of their custodian as interceding priest. … Authenticity is essential and there must be no copies or representations – in ­MacGregor's case not so much as a ­picture." Well, you could look online.

And if is to be true "[i]t does not matter if no one ever sees the shard. Most museum objects are seen only by their guardians, albeit financed by tithes from taxpayers", we'd probably better hide the 230,000 Science Museum, National Railway Museum and National Media Museum objects online. On the other hand, I do like a good 'museum as church' argument, cos if it was true the office wouldn't have bundles of excited kids on the other side of the door and it might be be quieter.

On a more serious note, whenever I come across articles like this it reminds me how far we have to go in helping people realise exactly how accessible, enjoyable, potentially challenging and just plain interesting our (your, their) museums are.

Links of interest – November 2009

I've fallen into the now-familiar trap of posting interesting links on twitter and neglecting my blog, but twitter is currently so transitory I figure it's worth collecting the links for perusal at your leisure. Sometimes I'll take advantage of the luxury of having more than 140 characters and add comments [in brackets].

And stuff I really must find time to read properly:
Finally, a tweet about an interview with me about the Cosmic Collections competition.
I really should group those tweets and replace all the shortened links with the full URLs but it's already taken a surprisingly long time to put this post together.

'Cosmic Collections' launches at the Science Museum this weekend

I think I've already said pretty much everything I can about the museum website mashup competition we're launching around the 'Cosmos and Culture' exhibition, but it'd be a bit silly of me not to mention it here since the existence and design of the project reflects a lot of the issues I've written about here.

If you make it along to the launch at the Science Museum on Saturday, make sure you say hello – I should be easy to find cos I'm giving a quick talk at some point.
Right now the laziest thing I could do is to give you a list of places where you can find out more:
Finally, you can talk to us @coscultcom on twitter, or tag content with #coscultcom.
Btw – if you want an idea of how slowly museums move, I think I first came up with the idea in January (certainly before dev8D because it was one of the reasons I wanted to go) and first blogged about it (I think) on the museum developers blog in March. The timing was affected by other issues, but still – it's a different pace of life!

On 'cultural heritage technologists'

A Requirements Engingeering lecture at uni yesterday discussed 'satisfaction arguments' (a way of relating domain knowledge to the introduction of a new system in an environment), emphasising the importance of domain knowledge in understanding user and system requirements – an excellent argument for the importance of cultural heritage technologists in good project design.  The lecture was a good reminder that I've been meaning to post about 'cultural heritage technologists' for a while. In a report on April's Museums and the Web 2009, I mentioned in passing:

…I also made up a new description for myself as I needed one in a hurry for moo cards: cultural heritage technologist. I felt like a bit of a dag but then the lovely Ryan from the George Eastman House said it was also a title he'd wanted to use and that made me feel better.

I'd expanded further on it for the first Museums Pecha Kucha night in London:

Museum technologists are not merely passive participants in the online publication process. We have skills, expertise and experience that profoundly shape the delivery of services. In Jacob Nielsen's terms, we are double domain experts.  This brings responsibilities on two fronts – for us, and for the museums that employ us.

Nielsen describes 'double usability specialists' or 'double experts' as those with expertise in human-computer interaction and in the relevant domain or sector (e.g. ref).  He found that these double experts were more effective at identifying usability issues, and I've extrapolated from that to understand the role of dual expertise in specifying and developing online and desktop applications.
Commenters in the final session of MW2009 conference described the inability of museums to recognise and benefit from the expertise of their IT or web staff, instead waiting until external gurus pronounced on the way of the future – which turns out to be the same things museum staff had been saying for years.  (Sound familiar?)

So my post-MW2009 'call to arms' said "museums should recognise us (museum technologists) as double domain experts. Don’t bury us like Easter eggs in software/gardens. There’s a lot of expertise in your museum, if you just look. We can save you from mistakes you don't even know you're making. Respect our expertise – anyone can have an opinion about the web but a little knowledge is easily pushed too far".

However, I'm also very aware of our responsibilities. A rough summary might be:

Museum technologists have responsibilities too.  Don’t let recognition as a double domain expert make you arrogant or a ‘know it all’. Be humble. Listen. Try to create those moments of understanding, both yours from conversation with others, and others from conversation with you – and cherish that epiphany.  Break out of the bubble that tech jargon creates around our discussions.  Share your excitement. Explain how a new technology will benefit staff and audiences, show them why it's exciting. Respect the intelligence of others we work with, and consider it part of our job to talk to them in language they understand. Bring other departments of the museum with us instead of trying to drag them along.

Don't get carried away with idea that we are holders of truth; we need to take advantage of the knowledge and research of others. Yes, we have lots of expertise but we need to constantly refresh that by checking back with our audiences and internal stakeholders. We also need to listen to concerns and consider them seriously; to acknowledge and respect their challenges and fears.  Finally, don’t be afraid to call in peers to help with examples, moral support and documentation.

My thoughts on this are still a work in progress, and I'd love to hear what you think.  Is it useful, is it constructive?  Does a label like 'cultural heritage technologist' or 'museum technologist' help others respect your learning and expertise?  Does it matter?

[Update, April 2012: as the term has become more common, its definition has broadened.  I didn't think to include it here, but to me, a technologist ia more than just a digital producer (as important as they are) – while they don't have to be a coder, they do have a technical background. Being a coder also isn't enough to make one a technologist as it's also about a broad range of experience, ideally across analysis, implementation and support.  But enough about me – what's your definition?]

About 'lessons from a decade of museum websites'

An article I wrote for Museum iD, 'an independent ideas exchange and thinktank for museums and heritage professionals' has been published online. The entire version of 'Learning lessons from a decade of museum websites' is available online, but as a taster, it starts:

2009 may be remembered as the year when various financial crises gave us time and cause to stop and reflect on the successes and failures of the past decade or so of museums on the web. This reflection is aided by the maturity of the web as a technical platform – models are now available for most common applications of cultural heritage online, and a substantial body of experience with digitisation and web projects exists within the cultural heritage sector. It also offers an opportunity to pose some questions about the organisational changes museums might face as both the expectations of our audiences and our own working practices have been influenced by our interactions online.

Some of it's really practical, and comes from my desire to share the lessons I've learnt over ten years in the cultural heritage sector:

Based on my experience and on that of other museum technologists, I’ve listed some sample questions about your audiences, content and organisational goals related to the project. The answers to these questions will begin to reveal the types of interactions your audiences could have with your content, with each other and with the museum itself. In turn, focussing on those social and functional interactions you wish to support will determine the website and interaction metaphors suitable for your project.

And some of it comes from a desire to see museums communicate better internally, and to make the most of existing knowledge and resources, no matter where it sits in the organisation:

Some of the questions above may seem rather daunting, but by involving staff from a range of disciplines in the project’s earliest scoping stages, you gain a greater variety of perspectives and make available a wider range of possible solutions. Inviting others to participate in the initial stages of project design and taking advantage of the innovation and expertise in your organisation is a good way to discover reusable resources, bring to light any internal duplications or conflicts, and to ‘reality check’ your idea against organisational mission and operational reality. For example, most museums contain people who spend their days talking to audiences and watching them interact with exhibits and interpretative content – observations that can help bridge the gap between the physical and online audience experience. Similarly, museum technologists are not merely passive conduits in the online publication process but often have skills, expertise and experience that can profoundly shape the delivery of services.

If you need to understand emerging technologies, ‘mash-up days’ are among the lightweight, inexpensive but potentially high-impact ways to enable staff to research and experiment with new platforms while engaging in cross-departmental collaboration. Cross-specialism workshops, ‘unconferences’ , social media communication tools and even traditional meetings are a great way to create space for innovation while benefiting from years of institutional knowledge and bridging the disconnect that sometimes exists between departments. Integrating social and participatory (or ‘Web 2.0’) applications for collaboration and consultation into organisational practice can improve the chances of success for web projects by allowing staff to become as familiar as their audiences with the potential of these tools.

A lot of my thinking harks back to the ideas that coalesced around the Museums and the Web conference earlier this year, summarised here and here.

Finally, I snuck in a challenge at the end: "Our audiences have fundamentally changed as a result of their interactions online – shouldn’t the same be true of our organisations?".

Let's push things forward – V&A and British Library beta collections search

The V&A and the British Library have both recently released beta sites for their collections searches.  I'd mentioned the V&A's beta collections search in passing elsewhere, but basically it's great to see such a nicely designed interface – it's already a delight to use and has a simplicity that usually only comes from lots of hard work – and I love that the team were able to publish it as a beta.  Congratulations to all involved!

(I'm thinking about faceted browsing for the Science Museum collections, and it's interesting to see which fields the V&A have included in the 'Explore related objects' panel (example).  I'd be interested to see any usability research on whether users prefer 'inline' links to explore related objects (e.g. in the 'tombstone data' bit to the right of the image) or for the links to appear in a distinct area, as on this site. )

I'm not sure how long it's been live, but the British Library beta catalogue search features a useful 'Refine My Results' panel on the right-hand side of the search results page.

There's also a 'workspace', where items and queries can be saved and managed.  I think there's a unique purpose for users of the BL search that most sites with 'save your items' functions don't have – you can request items directly from your workspace in advance for delivery when next in the library.  My friendly local British Library regular says the ability to save searches between sessions is immensely useful.  You can also export to delicious, Connotea, RefWorks or EndNote, so your data is transportable, though unfortunately when I tested my notes on an item weren't also exported.  I don't have a BL login so I haven't been able to play with their tagging system.

They've included a link to a survey, which is a useful way to get feedback from their users.

Both beta sites are already useful, and I look forward to seeing how they develop.

What's the point of museum collections online?

Earlier this week I posted on our developer blog to ask 'what’s your number one question about presenting museum collections online?'.

Merel van der Vaart (@MerelVaart on twitter), who has just finished an internship with the Science Museum's climate change content team, posed an interesting question in response:

"I'm still struggling to decide what the value of online access is. Not  that I think it's bad, but how exactly is it good?"

I tend to think that everyone knows the benefits of online collections – providing access to museum objects and the knowledge around them, to start with – so it's actually a really good question: why are we putting collections online?  Who does it benefit?  Are the benefits clear to others in the museum, and to our audiences?

I can think lots of answers, but the exercise of stopping and examining my automatic response was really useful.  I'm still thinking about the presentation on selling your ideas because  it's made me realise the importance of having answers to questions we'd forgotten might be questions.

Melbourne museum 3.0 meetup/pecha kucha July 16

More details about the museum 3.0 meetup/pecha kucha in Melbourne on July 16:

Drinks @ ACMI Lounge from 5:30pm
About 6pm take our drinks to Studio 1 for the Pecha Kutcha sessions
After that: a selection of this side of the city's finer drinking establishments…

We have four pecha kucha speakers so far – you could volunteer yourself (or a workmate) on the museum 3.0 ning thread.  It might sound intimidating, but it's a lot of fun, and as a speaker it's good because it's all over in 6 minutes and 40 seconds.

The London museum pecha kucha was a lot of fun and I'm generally looking forward to meeting some people working in cultural heritage in Melbourne and finding out about some of the cool work going on here.