Clash of the models? Object-centred and object-driven approaches in online collections

While re-visiting the world of museum collections online for some writing on 'crowdsourcing as participation and engagement with cultural heritage', I came across a description of Bernard Herman's object-centred and object-driven models that could be useful for thinking about mental models designing better online collections sites.

(I often talk about mental models, so here's a widely quoted good definition, attributed to Susan Carey’s 1986 journal article, Cognitive science and science education:

'A mental model represents a person’s thought process for how something works (i.e., a person’s understanding of the surrounding world). Mental models are based on incomplete facts, past experiences, and even intuitive perceptions. They help shape actions and behavior, influence what people pay attention to in complicated situations, and define how people approach and solve problems.'

CATWALKModel House FaceTo illustrate a clash in models, when you read 'model' you might have thought of lots of different mental pictures of a 'model', including model buildings or catwork models, and they'd both be right and yet not quite what I meant:

And now, back to museums…)

To quote from the material culture site I was reading, which references Herman 1992 'The Stolen House', in an object-centred approach the object itself is the focus of study:

"Here, we need to pay attention to the specific physical attributes of the object. The ability to describe the object – to engage, that is, with a list of descriptive criteria – is at the forefront of this approach. A typical checklist of the kinds of questions we might ask about an object include: how, and with what materials, was the object made? what is its shape, size, texture, weight and colour? how might one describe its design, style and/or decorative status? when was it made, and for what purpose?"

In object-driven material culture:

"the focus shifts toward an emphasis on understanding how objects relate to the peoples and cultures that make and use them. In particular, ideas about contextualisation and function become all important. As we have already noted, what objects mean may change through time and space. As products of a particular time and place, objects can tell us a great deal about the societies that gave birth to them. That is, they often help to reflect, or speak to us, of the values and beliefs of those who created them. At the same time, it is also important to remember that objects are not simply ‘passive’ in this way, but that they can also take on a more ‘active’ role, helping to create meaning rather than simply reflect it."

It seems to me that the object-centred approach includes much of the information recorded in museum catalogues, while the object-driven approach is closer to an exhibition.  Online museum collections often re-use content from catalogues and therefore tend to be object-centred by default as catalogues generally don't contain the information necessary to explain how each object relates 'to the peoples and cultures that make and use them' required for an object-driven approach.  If that contextual information is available, the object might be sequestered off in an 'online exhibition' not discoverable from the main collections site.

A complicating factor is the intersection of Herman's approaches with questions about the ways audiences think about objects in museums and other memory institutions (as raised in Rockets, Lockets and Sprockets – towards audience models about collections?).  The object-centred approach seems more easily applicable to individual objects but the object-driven approach possibly works better for classes of objects.  I'm still not sure how different audiences think about the differences between individual objects and classes of objects, so it's even harder to know which approach works best in different contexts, let alone how you would determine which model best suits a visitor when their interaction is online and therefore mostly contextless.  (If you know of research on this, I'd love to hear about it!)

I'd asked on twitter: 'Can mixed models make online collections confusing?'  John Coburn suggested that modes of enquiry online might be different, and that the object-driven attributes might be less important.  This was a useful point, not least because it helped me crystallise one reason I find the de-materialisation of objects online disconcerting – attributes like size, weight, texture, etc, all help me relate to and understand objects.  Or as Janet E Davis said, 'I automatically try to 'translate' into the original medium in my head'.   John answered with another question: 'So do we present objects via resonant ideas/themes/wider narrative, rather than jpg+title being "end points"?', which personally seems like a good goal for online collections, but I'm not the audience.

So my overall question remains: is there a potential mismatch between the object-driven approach that exhibitions have trained museum audiences to expect and the object-centred approach they encounter in museum collections online?  And if so, what should be done about it?

Some personal highlights from UKMW12: Strategically Digital

#ukmw12 trended over 'Christmas'
#UKMW12 trended above Christmas!

There are a few reports about UKMW12, the Museums Computer Group's Museums on the Web 2012 conference out there already and I've already written about the themes for UKMW12, but as I wanted to note some things I wanted to remember or follow up on later, I might as well share them. But be warned, these notes are very sketchy because I was keeping an eye on lots of other things on the day (and preparing for my first ever AGM as Chair). It's amazing how quickly one day can go by when you've spent so long preparing for it.

The keynotes
Andy Dobson talked about the incredible new energy that 'creative technology' is bringing to digital work. He remember going to a show on London's South Bank and seeing Mosaic, Myst on a mac and Nicholas Negroponte's Being Digital, all for the first time. My first experiences with the potential of the web were different, but I remember that sense of exciting things being in the very near future, and of the web being something you could do as well as something you used.

I loved that he turned the proliferation of web technologies and the number of acronyms in the standard developer's toolkit into a positive – 'it's exciting, it's like the early days again'. His broader description of 'hackers' as people who apply technology to the creative process was inspiring, and perhaps particularly apt for museums. They're people who circumvent standard practices, and while hack days can be technology-led they can also be about hacking internal processes.

He emphasised that digital is inherently multi-disciplinary work, encompassing technology, user experience design, sociology, etc and that it doesn't work if any one discipline hogs the process. If I were to pull out one thread from the day, it might be the idea that 'digital' is too big to stay in technology departments while also being too important to deliver without taking seriously the expertise of technologists and related disciplines. As Tate's John Stack put it, 'digital doesn't respect organisational boundaries', a theme that was echoed by the V&A's Rich Barrett-Small who called on developers to 'flex within the scope of the museum' and not just be 'grumpy developers in the basement' while pointing out they also need to be 'a strong and credible voice' within the museum. Perhaps as Andrew said, 'organisational hacking' is the answer, though 'change management' and new forms of collaboration might be a less scary description to use within a museum.
Speaking of 'makers', Andrew gave some great examples of artworks and the migration of the web ethos into the physical world. The thought that a Maker Faire can draw in 100,000 people is mind-blowing. I loved his description of the 'creative gene pool', partly because museums can play that role in others lives, but sometimes we need a reminder to go and hang out and be inspired by our collections. And to close, a tweet from @Sarah_Fellows that brought Andy's points right into the sector: '#ukmw12 Access, community, sharing, collaboration, learning; interesting that the words which describe digital creatives = heritage ideals'. There was a great question from the audience about 'how do you get inspiration when recommendation systems are geared at giving you things you already like?', which doubles as a great challenge for online collections sites.

Metrics, Channels, Engagement, Re-use, Transparency, ContentPaul Rowe introduced us to the 'online collection hamburger' in which metrics and content surround channels, engagement, re-use and transparency. He pointed out that 'Collection content is internet gold – it's unique, interesting, has an emotional connection with people, places and times' but also that a museum website is 'no longer the final destination for publishing online content'. I loved his solution to the fact that a single museum can't always answer a user's query: 'show related content from other museums if you don't have an object for a search term'. His statement that 'We shouldn't be leading people into a dead end just for the sake of keeping them on our website' should be made into t-shirts and sold outside digital project planning meetings, and his advocacy for 'wonder' and surfacing interesting things from your collections made me wish I was working on a museum website again. Paul provided examples from museums across the world, and was a brilliant advocate for both collections and audiences.

Mobile
One of the surprising highlights of the day was the general realisation of the importance of mobile traffic to museum websites. As Andrew Lewis said of the V&A's digital strategy: "If it doesn't work on mobile it's probably not going to happen'. I suppose I've been immersed in research on mobile devices and behaviours (not least for the Culture24-led action research project 'Let's Get Real') so I forget that not everyone is aware of how many of their visitors are on mobile devices. One figure quoted on the day on an 'increase of 170% in mobile access in last 12 months' came from some analysis I did for the Let's Get Real project, so I thought I'd share some more information about that. I was reviewing analytics from the partner websites to see how many had reached the 'tipping point' of 20% or more visits on mobiles, and thought I'd compare that to the same period for the previous year (Jan-Aug 2011 and Jan-Aug 2012) to see how fast mobile visits were increasing. It turns out that in general there was a 170% increase in mobile visits to cultural websites. So even if you're getting less than 20% mobile visits now, it won't be long before mobile is important for you too. But a caveat – there's a lot of variation across different organisations (and regions) so as ever, your milage may vary.  The project report will contain lots more detail, but at least now there's some context for that stat.

Put visitors at the heart of what you do
Whether it's through data analytics or digital R&D, this was a theme of Tom Grinsted's talk on making data-based decisions, and lay behind Nick Poole asking how and why museums are sharing their content online (and asking for help in building on his research into different options for sharing collections online) and Katy Beale asking us to prioritise people over products. Claire Ross and Jane Audas talked about the impact of stakeholder management on agile, iterative projects but looked beyond organisational issues to focus on their key positive finding about trusting audiences when moderating social media.

The lesson of the day may be that the whole point of a digital strategy is to help balance the internal needs of a large, often conservative organisation like a museum with the changing needs of our audiences.  It's clear that the best strategies are a framework for decision-making rather than a static document, but perhaps they're also a reminder of why we're doing it in the first place: to connect audiences with knowledge and collections.

And just in case that's not enough UKMW12 for you, I've made a storify of the day:

'Go digital' at Museums Association 2012 Conference

Some people who couldn't make the Museums Association conference (or #museums2012) asked for more information on the session on digital strategies, so here are my introductory remarks and some scribbled highlights of the speakers' papers and discussion with the audience.

Update: a year later, I've thought of a 'too long, didn't read' version: digital strategies are like puberty. Everyone has to go through it, but life's better on the other side when you've figured things out. Digital should be incorporated into engagement, collections, venue etc strategies – it's not a thing on its own.

The speakers were Carolyn Royston (@caro_ft), Head of New Media at Imperial War Museum; Hugh Wallace (@tumshie), Head of Digital Media at National Museums Scotland; Michael Woodward (@michael1665), Commercial Director at York Museums Trust, and I chaired the session in my role as Chair of the Museums Computer Group. From the conference programme: 'This session explores the importance of developing a digital strategy. It will provide insight into how organisations can incorporate digital into a holistic approach that meets wider organisational and public engagement objectives and look at how to use digital engagement as a catalyst to drive organisational change.'

After various conversations about digital and museums with people who were interested in the session, I updated my introduction so that overall the challenge of embracing the impact of digital technologies, platforms and audiences on museums was put in a positive light.  The edited title that appeared in the programme had a different emphasis ('Go digital' rather than the 'Getting strategic about digital' we submitted) so I wanted it to be clear that we weren't pushing a digital agenda for the sake of technology itself. Or as I apparently said at the time, "it's not about making everything digital, it's about dealing with the fact that digital is everywhere".

I started by asking people to raise their hands if their museum had a digital strategy, and I'd say well over half the room responded, which surprised me. Perhaps a third were in the process of planning for a digital strategy and just a few were yet to start at all.

My notes were something like this: "we probably all know by now that digital technologies bring wonderful opportunities for museums and their audiences, but you might also be worried about the impact of technology on audiences and your museum. ‘Digital’ varies in organisations – it might encompass social media, collections, mobile, marketing, in-gallery interactives, broadcast and content production. It touches every public-facing output of the museum as well as back-office functions and infrastructure.

You can’t avoid the impact of digital on your organisation, so it’s about how you deal with it, how you integrate it into the fabric of your museum. As you’ll hear in the case studies, implementing digital strategy itself changes the organisation, so from the moment you start talking to people about devising a digital strategy, you'll be making progress. For some of our presenters, their digital strategy ultimately took the form of a digital vision document – the strategy itself is embedded in the process and in the resulting framework for working across the organisation. A digital strategy framework allows you to explore options in conversation with the whole organisation, it’s not about making everything digital.

Our case studies come from three very different organisations working with different collections in different contexts. Mike, Commercial Director at York Museums Trust will talk about planning the journey, moving from ad hoc work to making digital integral to how the organisation works; Hugh, Head of Digital Media at National Museums Scotland will discuss the process they went through to develop digital strategy, what’s worked and what hasn’t’; Carolyn Royston, Head of Digital Media at Imperial War Museums, who comes from a learning background, will talk from IWM’s digital adventure, from where they started to where they are now. They’re each at different stages of the process of implementing and living with a digital strategy.

Based on our discussions as we planned this session, the life cycle of a digital strategy in a museum seems to be: aspiration, design, education and internal outreach, integration with other strategies (particularly public engagement) and sign off… then take a deep breath, look at what the ripple effect has been and start updating your strategies as everything will have changed since you started. And with that, over to Mike…"

Mike talked about working out when digital delivery really makes sense, whether for inaccessible objects (like a rock on Mars) or a delicate book; the major role that outreach and communication play in the process of creating a digital strategy; appointing the staff that would deliver it based on eagerness, enthusiasm and teamwork rather than pure tech skills; where digital teams should sit in the organisation; and about the possibility of using digital volunteers (or 'armchair experts') to get content online.

Hugh went for 'frameworks, not fireworks', pointing out that what happens after the strategy is written is important so you need to create a flexible framework to manage the inevitable change.  He discussed the importance of asking the right-sized question (as in one case, where 'we didn't know at the start that an app would be the answer') and working on getting digital into 'business as usual' rather than an add-on team with specialist skills.  Or as one tweeter summarised, 'work across depts, don't get hung up on the latest tech, define users realistically and keep it simple'.

Carolyn covered the different forms of digital engagement and social media the IWM have been trying and the role of creating their digital vision in helping overcome their fears; the benefits of partnerships with other organisations for piggybacking on their technology, networks and audiences, and the fact that their collections sales have gone up as a result of opening up their collections.  In the questions, someone described intellectual property restrictions to try to monetise collections as 'fool's gold' – great term!  I think we should have a whole conference session on this sometime soon.

When reviewing our discussions beforehand I'd found a note from a planning call which summed up how much the process should change the organisation: 'if you're not embarrassed by your digital strategy six months after sign-off you probably haven't done it right', and on the day the speakers reinforced my impression that ultimately, devising and implementing a digital strategy is (probably) a necessary process to go through but it's not a goal in its own right.  The IWM and NMS examples show that the internal education and conversations can both create a bigger appetite for digital engagement and change organisational expectations around digital to the point where it has to be more widely integrated.  The best place for a digital strategy is within a public engagement strategy that integrates the use of digital platforms and working methods into the overall public-facing work of the museum.

Listening to the speakers, a new metaphor occurred to me: is implementing a digital strategy like gardening? It needs constant care and feeding after the big job of sowing seeds is over. And much like gardening for pleasure (in the UK, anyway), the process may have more impact than the product.

And something I didn't articulate at the time – if the whole museum is going to be doing some digital work, we technologists are going to have to be patient and generous in sharing our knowledge and helping everyone learn how to make sensible decisions about digital content and experiences.  If we don't, we risk being a bottleneck or forcing people to proceed based on guesswork and neither are good for museums or their audiences.

So much awesomeness! #GODIGITAL #Museums2012 twitter.com/dannybirchall/…
— Danny Birchall (@dannybirchall) November 9, 2012

Huge thanks for Carolyn, Hugh and Michael for making the whole thing such a pleasure and to the Museum Association conference organisers for the opportunity to share our thoughts and experiences.

And finally, if you're interested in digital strategies in heritage organisations, the Museums Computer Groups annual Museums on the Web conference is all about being 'strategically digital' (which as you might have guessed from the above, sometimes might mean not using technology at all) but UKMW12 tickets are selling out fast, so don't delay.

Why museums matter: 'Museum Ideas 2012 – Museums in the Era of Participatory Culture'

In early October I attended Museum/iD's conference, Museum Ideas 2012 – Museums in the Era of Participatory Culture. I've posted the first part of my notes at 'War, Plague and Fire' and 'Bootstrapping Innovation in Museums' at 'Museum Ideas 2012 – Museums in the Era of Participatory Culture'.

I'll start this with a 'too long; didn't read' version: overall, the themes of the day seemed to be a version of Tim O'Reilly's 'work on stuff that matters', whether it's improving economic or social justice or helping museums cope with the need for constant evolution in a time of change. Museums matter, and the work people do in museums matters, whether they're reaching new audiences by reconsidering technology or marketing campaigns. There was also a thread around challenging dominant versions of history and confronting stereotypes, whether challenging YouTube viewers with performance art or democratising the process of documenting history.  Many of the projects we heard about were also strongly tied to the mission of their museum or team (and none of them were about technology in its own right).

The final speaker before lunch was Tate Media's Jane Burton, who spoke on Radical art experiences for the online space. She tied their work in creating 'radical content' for existing online spaces where their audiences are (i.e. not expecting them to come to your museum or your website) to Tate's mission to increase the publics' understanding and enjoyment of art. Their Tate Shots reach an audience of 3 million people a year directly, and more through syndication to the Guardian, Huffington Post, etc. The videos are about 3 minutes long and capture the artists visiting the galleries, working on exhibitions, etc; they're relatively unformated and don't have a presenter – the ease of being able to create them means they have a living archive of films that can exist online for free forever. They refuse to pay annual rights charges to show art in the films so they work with living artists they can get permissions from.

Tate has a small team with limited resources so they collaborate with others to reach audiences. Burton discussed a project with BMW on YouTube ('people weren't expecting to see performance art when looking for pandas' but some of the people who happened upon it stayed, particularly as they were engaged in conversation with art-loving audience members); Tate Kids film project; the Gallery of Lost Art (which turns the gradual release of archival material into an asset: posts to social media keep audiences coming back); Exquisite Forest. She also talked about mobile – 10% of traffic to their website is on mobile devices (which seems low, mobile traffic for a multi-museum project I'm working with averages about 17-20%) – and 'playful apps'. Advice on risk-taking: 'don't ask the directors, just do it'. They did three apps that might not have gotten permission to go ahead if they'd asked. Tate Trumps (updated after getting flack in the iTunes store about not being able to play outside the gallery); Race Against Time – play as a chameleon restoring colour to the world, 'activate the game at Tate Modern for special powers'; Magic Tate Ball shows artwork from Tate's datavase selected by time of day, weather, ambient sound, location of the device. They've had over 100,000 downloads across those platforms. Magic Tate Ball was received really well in India on Nokia phones, highligting that you need to think about your role in the world, not just the UK.

The next speaker was Louise Shannon from the VA's Contemporary Programmes team on Strategies for engagement: contemporary programmes at the V&A. Their goal is to support creative design, engage diverse audiences, be open and engaged, and have a global point of view. They have two exhibitions a year in a dedicated contemporary space; exhibitions that are popular and accessible, agenda-setting and responsive (critical) and creative, spectacular, risk-taking. Their projects include an experiment with an 'open source marketing campaign' for Decode – people could take the animation code, re-work it and re-publish it on the V&A website; through a partnership with a media placement company it might also be projected in tube stations or end up on posters. [Partnerships for broader reach was a theme in Jane Burton's talk about Tate, too, but it's only now that I've thought to ask about advice on partnerships for museums that aren't super-brands in their own right.]. Shannon also discussed the V&A's Friday Lates, part of their programme since 1999: 'the two staples are a DJ and a bar, everything else changes'.

Francesca Rosenberg, Director of Community and Access, MoMA spoke on Advanced Style: Why Museums Ought to Respect Their Elders, pointing out that 'we are all apprentice older people. We can do this right, or we can do this wrong'. Like any accessibility issue, 'when we make changes for older visitors we make the museum better for all'. Her talk was inspired by the book and blog, 'Advanced Style', though that's only one model – there's more variety among older people than any other age group. Rosenberg pointed out that older people have time to devote to civil engagement, so design projects so they can participate, or re-market the programmes you already have. MoMA did a study with NYU to evaluate the impact of the programme – less depression, more social connectedness, new appreciation of their loved one. Personally, this was one of the most inspiring talks of the day, partly because it reminded us why museums do this work. The next speaker started by saying that MoMA's work inspired a project that his parents participate in, which just reinforced that.

Adam Rozan spoke on SURVIVAL: The Case for Evolutionary Adaptation In Museums. His
metaphor of 'evolutionary adaptation' echoed Sharon Ament's keynote in calling change 'the new normal'. He talked about 'five ways Starbucks are changing the game (even though they are already doing well)', (an unfortunate choice as many people in the room didn't seem to like Starbucks), then asked why do museums do the things they do? Are museums thriving? Attendance is up but there are lot of museums that aren't doing that well. He added together the museums that increased and decreased visits to get a 'stagnancy' figure. Overall museums aren't doing that well, the US is seeing stagnancy across the board. Our populations are changing, we can't keep doing the same things and expect the same outcomes. Rozan pointed out that lots of people are competing with museum-like experiences, whether MOOCs or Starbucks and called for people to re-imagine the museum – museums as living spaces; as content creators; as education centres.

The tone changed after the break as Lisa Junkin from the Jane Addams Hull-House Museum in Chicago talked about Report to the Public: dangerous histories, public history and community development and an exhibition about the 'Conservative Vice Lords'. They're interested in how museums contribute to the growth and development of local communities, particularly of under-served communities. The CVL exibition was a co-curated pilot exhibit, taken on by their nineteenth century historic house museum because their museum is dedicated to dangerous ideas, encouraing discourse not as 'superficial consensus building but fostering dissent'. The house is dedicated to Jane Addams, the first woman to be given a Nobel Peace Prize, also called the 'most dangerous woman in America'. But it turned out that the exhibition was so controversial that they struggled to bring it into the neighbourhood because of fear of vandalism from other gangs. They ultimately displayed the original artefacts outside the area itself and put panels in local shop windows instead. The panels had numbers to call to hear audio content or to leave their own memories of the CVL. The exhibition closes by asking 'what next?'. Junkin also pointed out that museums have unique role to play with counterpublics, but museums are still often complicit in marginalising the publics they're meant to serve. In sharing the museum's authority and social capital with community groups, they can amplify their marginalised voices.

Jennifer Scott of the Weeksville Heritage Center, Brooklyn spoke on Normalcy as Innovation: Radical Dignity and the Right to Historical Inclusion. Weeksville marks a history that was erased from the books, but luckily for them both its nineteeth century and 1960s histories were victories. They work hard for historical inclusion: 'everything that we do is to democratise the documentation process of history', and participation is 'never a choice for us'. It was created by the community so they do everything they can to support the needs of the community. They interpret the everyday lives of ordinary people ('what was it like to be a free black New Yorker in 1838?'), normalising them in contrast to the 'histories of deviance' and traumatic events like slavery and civil rights-related violence that usually attends black history in America. The Weeksville site is an answer to assumptions and stereotypes about black history. They've created historical interpretive narratives that they've noticed visitors respond to then translated them into core values that are reflected in their tours, events and programmes. They include everything from 'girls night out' film nights with wine and cheese or a farmers market to cutting-edge art. Like Junkin's talk, this was a powerful reflection on the ways in which museums can work towards greater social justice, and like Rosenberg's talk, it left me feeling inspired by the good that museums can do.

The final presentation was from Tony Butler of the Museum of East Anglian Life, Everybody's Happy Nowadays: How museums can create conditions for well-being without costing the earth. He talked about the need to address 'bigger than self' issues and the challenge of making them relevant to everyday lives of people. People not only beneficiaries but also co-curators of the space at MEAL; they're not just a knowledge-based institution but also part of an active citizenry. He quoted Polly Toynbee on 'the most unequal societies are the least happy' and discussed alternatives to economic orthodoxy – 'one where planet and people matter' like Bhutan's 'gross domestic happiness'. MEAL's principles are: stewardship; participation; social enterprise; mindfulness, and a study has shown that for every £1 invested with them, they have generated £4 of social value. He said 'participation' is not just asking visitors what they think of the museum, and asked museums to get beyond 'participation-lite'.

Disclosure: my ticket was provided by Museum/iD. Many thanks to the speakers for their excellent presentations.  Some of the speakers on twitter include @ljunkin @tonybutler1 @adamrozan @francescatime @sebchan @rjstein.

'War, Plague and Fire' and 'Bootstrapping Innovation in Museums' at 'Museum Ideas 2012 – Museums in the Era of Participatory Culture'

I've finally had a moment to catch up and post the first part of my notes from Museum/iD's conference, Museum Ideas 2012 – Museums in the Era of Participatory Culture. Overall it was a great conference that left me with a lot of things to think about for how museums can adapt and thrive in the current international context, and reminded me why museums should survive: they matter. I've posted my thoughts from the later sessions at Why museums matter: 'Museum Ideas 2012 – Museums in the Era of Participatory Culture' with a short summary of the whole event at the start.

Sharon Ament's keynote at Museum of London Docklands

The day was chaired by Ben Gammon who began by pointing out that innovation is no longer a luxury, it's now critical for survival.

The keynote speaker was the new Director of the Museum of London, Sharon Ament, who spoke on War, Plague and Fire: museums and libraries in the era of participatory culture. Previously Ament was director of public engagement at the Natural History Museum, and she drew on that background in her talk while also relating it to the collections of the Museum of London and the docklands location of the conference. She called for museums to look at what participatory culture means to the people they serve, especially when the individual has the capacity to be heard more loudly than ever before. The international context in which we're living – with civil unrest, economic crises and global warming – is a time of change and fear means that adaptation to the external environment is an important concept for museums today. Her talk, and some of the discussion afterwards, focused on the role of museums and libraries as venues for independent discovery; accessible to many because entry was free. She suggested that creative responses – small things that can happen spontaneously, like the 'pop-up' concept – might be useful for reaching people.

One final quote to close, from the Salzburg Global Seminar and the Institute of Museum and Library Services report on 'Libraries and Museums in an Era of Participatory Culture': 'technology is a tool, not an objective, and that the creation of increased public value is the end goal. Identifying stakeholders’ needs means addressing human relationships, a sense of organization, and an intellectual construct to shape information and access'.

The next session was a 'fireside chat' with Rob Stein (Dallas Museum of Art) and Seb Chan (Cooper-Hewitt Museum) reflecting on 'Bootstrapping Innovation in Museums' and their experiences in changing museums. They discussed collaboration (Stein noted that everything he's built that's had a modicum of success has been a collaboration with lots of people), the pace of change in different museums (including the need to build a risk-tolerant culture), and the risk of assuming that technology is an inherent part of innovation (Stein observed that the change that needs to happen at DAM is cultural, about shifting ambition). How do you create a culture of innovation? Chan mentioned Elaine Heumann Gurian's Wanting to be the Third on your Block and said that the first thing he did when he started at the Cooper-Hewitt was create a space that gave people permission to change. He set up 'labs' as a space for people to talk about stuff, which also gave his immediate team a public voice for the first time. He pushed fast to get quick results on some straightforward things to start to set an expectation of speed and accelerate culture: 'right now, doing things fast matters more than doing things well'. He talked about cultivating rogues and tricksters in the museum to accelerate change and get a paradigm shift and suggested tackling root problems rather than symptoms for issues like copyright. They also discussed how to play up the fun of museum jobs to make them more attractive in a competitive tech jobs market, and the importance of putting some money into innovation where possible. Stein suggested that it's possible to support innovation without a budget, e.g. museums can hold 'research forums' where people share what they're working on.

Chan also said museums have turned themselves into 'exhibition farms', letting them suck huge amounts of resource; together with the obsession with 'finish' this slows innovation that could come from re-thinking how exhibitions and public programmes work together. Stein observed 'museums seem to like gargantuan problems, things that take five years to get out the door [like] exhibitions, publications, buildings.'

They discussed the mismatch between museum exhibition launch models and software models: 'people want to feel that something's finished when it launches, they want the party and the holiday'. But in software development, no-one takes a holiday straight after launch because they're watching what people do with the new software. [I was really interested in this section as it's something I've thought about a lot (e.g. does a museum's obsession with polish hinder innovation?) – I suspect museum technologists have two clashing mental models about how to work: one is the web agency model, based around cycles of 'launch, observe, iterate, update'; the other is the 'long slog to an unmovable launch date then onto the next project' of museums. When the rest of the world moves on the agile, iterative model, it's frustrating being tied to the museum model, particularly when it seems to have more flaws than benefits for modern audiences.] In closing they talked about the effectiveness of various models of innovation, whether attempts at top-down innovation, departments of innovation or more integrated models of innovation.

This post is already quite long, so I might hit publish now and come back to the other talks later.

Disclosure: my ticket was provided by Museum/iD.

Is it time for museums to go public about the impact of funding cuts?

Back in December last year I posted asking 'Why do people rally to save libraries but not museums?'. Many of the reasons revolved around the different relationships people have with their local library compared to their local museum, the types of services they offer, and especially the idea that part of using a library involves visiting it regularly: libraries are simply more embedded in people's daily lives than museums.  But a few other responses addressed the perception that libraries were under threat, but museums weren't because 'the immediate threat to museums isn't highlighted'.  Libraries took to social and traditional media, asking both famous and ordinary library users to speak up on their behalf  (e.g. Voices for the Library, Speak up for libraries, and sample press coverage on the BBC 'Library closure threats spark campaigns across England' and Guardian 'The campaign to save libraries continues'), but museums were largely silent as they quietly said goodbye to staff, reduced their services or simply closed.

Some reasons why museums might not be taking their fight to survive against cuts to the public are highlighted in this piece from the Museums Association's Museums Journal: Head to Head, with David Fleming, director of National Museums Liverpool and Simon Wallis, director of the Hepworth Wakefield.  It's a really important conversation for the UK's museum sector, so I'd encourage you to go read it yourself, but to pick up some important points, David Fleming says:

'I can’t for the life of me understand why anyone would think it’s useful to the museum sector for us to keep quiet about the funding cuts that are affecting so many of us. … our sector, unlike many other sectors, appears to be reluctant to talk about the impact that cuts are having, and I don’t know why.'

The reason for silence seems to be (from Simon Wallis):

'I think we do need to be very wary of how what we are communicating can be seen by the public. I frequently encounter derision and anger from some people over receiving what they see as a “public subsidy” taking money from taxpayers’ pockets for non-essential elitist services.'

I suspect there are other reasons that contribute to the silence, like gagging orders about cuts and redundancies at councils, and if you haven't already read Nick Poole's The Ties that Bind, go read it now. One quote that's relevant to museums' silence over cuts is: 'The National Museums will broker a deal under which the cuts to baseline budgets are maintained at 3-5% per annum for the next 2 years, in  return for which they may be fairly quiescent on the question of overall public subsidy of culture and the arts.'

I don't think a fear of comments about 'elitism' should be enough to stop museums taking their fight to the public, especially when, as another Museums Journal article points out, thirty museums and heritage sites have shut in the past two years.  Maybe it's time to get over that fear and ask the public if they want to lose their museums?

Confluence on digital channels; technologists and organisational change?

I suspect this is a few posts in one, but bear with me as I think aloud…

There can be only one…

I'm fascinated with the idea that digital channels are the point where the various functions of a museum – marketing, research, collections, outreach, education, fundraising, etc – meet. (If you've worked in a museum for a while you've probably witnessed heated internal discussions about which departments can have prominent spots on the front page of a museum website, or about who runs the $MuseumName Twitter or Facebook accounts.) This confluence in digital channels hopefully encourages organisations to think about what content (and who) best represents them to the world – but I suspect that often it's less about the public engagement strategy and more about organisational history and politics.

Similarly, building websites, apps and social media entails a series of decisions that operationalise a museum's big 'vision' statements; but as these decisions are made on the fly, they're often again less strategic and more subject to the vagaries of the organisation. For technologists, there's often also a tension between wanting to ensure sensible digital decisions are made and not wanting to be a bottleneck in the long line of sign-off documents and meetings involved in museum projects (and I'm still not sure how best to resolve that, especially when it's easy to make the wrong choice but technology changes more quickly than most museums can train staff).

Museums seem to struggle when the quality of those decisions, and therefore the quality of the final product, rests in part on whether audience-focused experts in technology, content, and graphic and experience design are present and heard at critical points, even when their recommendations contradict those of more established voices.

Why websites suck (or suck more than they should)

Building digital products means challenging 'the way things have always been done', and while museums-as-organisations are notoriously resistant to change, these definitional issues around the role of a digital team – technical delivery, content strategy, experience design, or some combination of the three – aren't unique to heritage organisations. Analytics guru Avinash Kaushik wrote: "I believe most websites suck because HiPPOs create them. HiPPO is an acronym for the 'Highest Paid Person's Opinion'. … The HiPPO is a poor stand-in for what customers want". That's possibly putting it too strongly, but it seems that potentially interesting digital projects do fail to deliver on that potential more often than they should, and it's not only because museums are generally a long way from thinking 'digital first'.

So who can stand up to 'the way things have always been done' and inter-departmental bun fights and represent the needs of our audiences in technology projects? In museums there's often a perception that digital teams are a service department (perhaps because of their roots in IT departments) while digital teams see themselves as creative departments, commissioning content and design, producing innovative experiences and consulting within the museum on digital projects and audience needs as well as delivering technical solutions. Coming down on the side of web teams in 'Web teams need real authority' Paul Boag pronounced: "web teams should have the final say about what appears on the website. They should have the authority to reject content, remove out of date content and maintain editorial control". His post got such a huge response that he expanded on this in another article, 'Paul Boag: give web teams more authority', where he called for organisations to break out of entrenched working methods and "establish a separate web strategy that defines who owns the website, how it will be operated and how editorial decisions are made". He noted that successful websites aren't just about code, "it's also about helping bring about cultural change to allow better management of sites". While Claire Ross' experience with digital R&D in museums might be more intense than the usual museum digital project, it bears out my experience that (in the words of one senior digital manager) 'organisational change is one of the most important things about what we do' and that this changes needs to be supported by senior management to be truly effective.

The call for strategic decision-making about organisational websites (and by extension, other digital channels) isn't new but it might be getting to the point where we can't ignore it. In 2011 Jonathan Kahn wrote A List Apart article on 'Web Governance: Becoming an Agent of Change, noting that the "the website is now the digital manifestation of the organization" but that "the user experiences we deliver don’t meet our expectations [because] when it comes to the web, organizations are broken". The article proposes 'web governance' as a combination of web strategy, web governance, web execution, and web measurement. And it's not all doom and gloom – many organisations (museums included) are resolving issues around web governance and thriving in a digital environment. But what happens to museums that rely on old models and don't sort out web governance until it's too late?

As Kahn says:

"The internet revolution has created huge social change: it’s changed the way people relate to organizations and it’s already destroyed several once-mighty industries, like newspapers, travel agents, and music publishing. Although we’re comfortable with the idea that the web is critical to organizations, we often miss the corollary: the web has changed the way organizations operate, and in many cases it’s changed their business models, too. When executives can’t see that, it causes a crisis. Welcome to your daily web-making reality."

Sound familiar?

[Edit to add: the Museums Computer Group has a call for papers for UK Museums on the Web 2012 on the theme of 'strategically digital' and you might want to submit a proposal soon if you've been working on these kinds of issues. Disclosure: I'm the MCG's Chair.]

And therefore, museum technologists need to step up…

A while ago, I had one of those epiphanies that occur in random conversations when I realised that my views as a technologists are informed more by my experience as a business analyst and user experience researcher than my time as a programmer: for me, being a technologist is not (only) about knowing how to cut code, it's about years of sitting in a room listening to people describe their problems, abstracting and analysing them to understand the problem space and thinking about how technology-driven change fits in that particular context.

I'm wondering if a better definition of museum technologist is someone who can appropriately apply a range of digital solutions to help meet the goals of a particular museum project. Even better, a museum technologist should be able to empathise with stakeholders enough to explain the implications of their technology choices for established internal work patterns and to contextualise them in relation to audience expectations. I guess this is also a reflection of the social changes the internet has brought – we geeks aren't immune from the need to change and adapt.

[Update, April 2013: I wonder what the answer would be if we asked other museum staff what they think a technologist should be? The role of 'translator' is valued by some project teams, but is the technologist always the best person for the job? If you're reading this before April 12 2013, you might want to take the survey 'What is a Museum Technologist anyway?' that Rob Stein and Rich Cherry have put together.]


If you liked this post, you may also be interested in Museums and iterative agility: do your ideas get oxygen? (21 November 2010) and A call for agile museum projects (a lunchtime manifesto) (10 March 2009).

Museums, Libraries, Archives and the Digital Humanities – get involved!

The short version: if you've got ideas on how museums, libraries and archives (i.e. GLAM) and the digital humanities can inspire and learn from each other, it's your lucky day! Go add your ideas about concrete actions the Association for Computers and the Humanities can take to bring the two communities together or suggestions for a top ten 'get started in museums and the digital humanities' list (whether conference papers, journal articles, blogs or blog posts, videos, etc) to: 'GLAM and Digital Humanities together FTW'.

Update, August 23, 2012: the document is shaping up to be largely about ‘what can be done’ – which issues are shared by GLAMs and DH, how can we reach people in each field, what kinds of activities and conversations would be beneficial, how do we explain the core concepts and benefits of each field to the other? This suggests there’d be a useful second stage in focusing on filling in the detail around each of the issues and ideas raised in this initial creative phase. In the meantime, keep adding suggestions and sharing issues at the intersection of digital humanities and memory institutions.

A note on nomenclature: the genesis of this particular conversation was among museumy people so the original title of the document reflects that; it also reflects the desire to be practical and start with a field we knew well. The acronym GLAM (galleries, libraries, archives and museums) neatly covers the field of cultural heritage and the arts, but I'm never quite sure how effective it is as a recognisable call-to-action.  There's also a lot we could learn from the field of public history, so if that's you, consider yourself invited to the party!

The longer version: in an earlier post from July's Digital Humanities conference in Hamburg I mentioned that a conversation over twitter about museums and digital humanities lead to a lunch with @ericdmj, @clairey_ross, @briancroxall, @amyeetx where we discussed simple ways to help digital humanists get a sense of what can be learnt from museums on topics like digital projects, audience outreach, education and public participation. It turns out the Digital Humanities community is also interested in working more closely with museums, as demonstrated by the votes for point 3 of the Association for Computers and the Humanities (ACH)'s 'Next Steps' document, "to explore relationships w/ DH-sympathetic orgs operating beyond the academy (Museum Computer Network, Nat'l Council on Public History, etc)". At the request of ACH's Bethany Nowviskie (@nowviskie) and Stéfan Sinclair (@sgsinclair), Eric D. M. Johnson and I had been tossing around some ideas for concrete next steps and working up to asking people working at the intersection of GLAM and DH for their input.

However, last night a conversation on twitter about DH and museums (prompted by Miriam Posner's tweet asking for input on a post 'What are some challenges to doing DH in the library?') suddenly took off so I seized the moment by throwing the outline of the document Eric and I had been tinkering with onto Google docs. It was getting late in the UK so I tweeted the link and left it so anyone could edit it. I came back the next morning to find lots of useful and interesting comments and additions and a whole list of people who are interested in continuing the conversation.  Even better, people have continued to add to it today and it's already a good resource.  If you weren't online at that particular time it's easy to miss it, so this post is partly to act as a more findable marker for the conversation about museums, libraries, archives and the digital humanities.

Explaining the digital humanities to GLAMs

This definition was added to the document overnight.  If you're a GLAM person, does it resonate with you or does it need tweaking?

"The broadest definition would be 1) using digital technologies to answer humanities research questions, 2) studying born digital objects as a humanist would have studied physical objects, and or 3) using digital tools to transform what scholarship is by making it more accessible on the open web."

How can you get involved?

Off the top of my head…

  • Add your name to the list of people interested in keeping up with the conversation
  • Read through the suggestions already posted; if you love an idea that's already there, say so!
  • Read and share the links already added to the document
  • Suggest specific events where GLAM and DH people can mingle and share ideas/presentations
  • Suggest specific events where a small travel bursary might help get conversations started
  • Offer to present on GLAMs and DH at an event
  • Add examples of digital projects that bridge the various worlds
  • Add examples of issues that bridge the various worlds
  • Write case studies that address some of the issues shared by GLAMs and DH
  • Spread the word via specialist mailing lists or personal contacts
  • Share links to conference papers, journal articles, videos, podcasts, books, blog posts, etc, that summarise some of the best ideas in ways that will resonate with other fields
  • Consider attending or starting something like Decoding Digital Humanities to discuss issues in DH. (If you're in or near Oxford and want to help me get one started, let me know!)
  • Something else I haven't thought of…

I'm super-excited about this because everyone wins when we have better links between museums and digital humanities. Personally, I've spent a decade working in various museums (and their associated libraries and archives) and my PhD is in Digital Humanities (or more realistically, Digital History), and my inner geek itches to find an efficient solution when I see each field asking some of the same questions, or asking questions the other field has been working to answer for a while.  This conversation has already started to help me discover useful synergies between GLAMs and DH, so I hope it helps you too.

Update, November 2012: as a result of discussions around this document/topic, the Museums Computer Group (MCG) and the Association for Computers and the Humanities (ACH) worked together to create 5 bursaries from the ACH for tickets to the MCG's UK Museums on the Web conference.

Messiness, museums and methods: thoughts from #DH2012 so far…

I'm in Hamburg for the 2012 Digital Humanities conference.  The conference only officially started last night, but after two days of workshops and conversations I already feel like my brain is full, so this post is partly a brain dump to free up some space for new ideas.

The first workshop was one I ran on ‘Learning to play like a programmer: Web mash-ups and scripting for beginners’ – I've shared my slides and notes at that link, as well as links for people to find out more about starting with basic code and computational thinking and to keep learning.

The second workshop, Here and There, Then and Now – Modelling Space and Time in the Humanities, was almost a mini-conference in itself.  The wiki for the NeDIMAH – Space Time Working Group includes links to abstracts for papers presented at the workshop, which are also worth a look for pointers to interesting projects in the spatial humanities.  The day also include break-out sessions on Theory, Methods, Tools and Infrastructure

The session I chaired on Methods was a chance to think about the ways in which tools are instantiations of methods.  If the methods underlying tools aren't those of humanists, or aren't designed suitably for glorious but messy humanities data, are they suitable for humanities work? If they're not suitable, then what?  And if they're used anyway, how do humanists learn when to read a visualisation 'with a grain of salt' and distinguish the 'truthiness' of something that appears on a screen from the complex process of selecting and tidying sources that underlies it?  What are the implications of this new type of digital literacy for peer reviews of DH work (whether work that explicitly considers impact of digitality on scholarly practice, or work that uses digital content within more traditional academic frameworks)?  How can humanists learn to critique tool choice in the same way they critique choice of sources?  Humanists must be able to explain the methods behind the tools they've used, as they have such a critical impact on the outcomes. 

[Update: 'FairCite' is an attempt to create 'clear citation guidelines for digital projects that acknowledge the collaborative reality of these undertakings' for the Alliance of Digital Humanities Organizations.]
We also discussed the notion of academic publications designed so that participation and interaction is necessary to unlock the argument or narrative they represent, so that the reader is made aware of the methods behind the tools by participating in their own interpretive process.  How do we get to have 'interactive scholarly works' in academia – what needs to change to enable them?  How are they reviewed, credited, sustained?  And what can we learn from educators and museum people about active reading, participation and engagement?

Our group also came up with the idea of methods as a bridge between different experts (technologists, etc) and humanists, a place for common understanding (generated through the process of making tools?), and I got to use the phrase 'the siren's lure of the shiny tool', which was fun.  We finished on a positive note with mention of the DH Commons as a place to find a technologist or a humanist to collaborate with, but also to find reviewers for digital projects.

Having spent a few days thinking about messy data, tweets about a post on The inevitable messiness of digital metadata were perfectly timed.  The post quotes Neil Jeffries from the Bodleian Library, who points out:

we need to capture additional metadata that qualifies the data, including who made the assertion, links to differences of scholarly opinion, omissions from the collection, and the quality of the evidence. "Rather than always aiming for objective statements of truth we need to realise that a large amount of knowledge is derived via inference from a limited and imperfect evidence base, especially in the humanities," he says. "Thus we should aim to accurately represent the state of knowledge about a topic, including omissions, uncertainty and differences of opinion."

and concludes "messiness is not only the price we pay for scaling knowledge aggressively and collaboratively, it is a property of networked knowledge itself".  Hoorah!

What can the digital humanities learn from museums?

After a conversation over twitter, a few of us (@ericdmj, @clairey_ross, @briancroxall, @amyeetx) went for a chat over lunch.  Our conversation was wide-ranging, but one practical outcomes was the idea of a 'top ten' list of articles, blog posts and other resources that would help digital humanists get a sense of what can be learnt from museums on topics like digital projects, audience outreach, education and public participation.  Museum practitioners are creating spaces for conversations about failures, which popped up in the #DH2012 twitter stream.

So which conference papers, journal articles, blogs or blog posts, etc, would you suggest for a top ten 'get started in museums and the digital humanities' list?

[For further context, the Digital Humanities community is interested in working more closely with museums: see point 3 of the Association for Computers and the Humanities (ACH)'s 'Next Steps' document.

'Engaging digital audiences in museums' conference

A quick report and Storify summary from Wednesday's joint Museums Computer Group (MCG) and Digital Learning Network (DLNet) conference, 'Engaging digital audiences in museums', which was held on 11 July 2012 at the University of Manchester.  I'm the Chair of the MCG and was on the Programming Committee for this event so I make absolutely no claim to impartiality, but I thought it went really well – great speakers and workshop leaders, enthusiastic and friendly participants and a variety of formats that kept energy levels up during the day.

My notes are sketchier than usual as I was co-chairing some of the sessions and keeping an eye on the running of the event, so this is more of an impressionistic overview than a detailed report.  There are already a number of other posts out there, and we'll have the post from our official event blogger and illustrator up soon for more comprehensive accounts.

For the MCG, this event was experimental in a number of ways – in running an event with another practitioner organisation, in the venue, in running parallel workshops, buying in commercial wifi, and in devoting part of the day to an unconference – and I'm curious to know what response we get in the evaluation from the day.  (If you were there, our short feedback form is online.)

The event was designed to bring museum learning and technology staff together because we felt we were missing opportunities to benefit from each others skills and experience. I know technologists are grappling with measuring impact, and learning people with reaching new audiences in different ways – hopefully each group would have something to offer and something to learn, though it might mean seeing past each others jargon and understanding different views of the world. (This 'Interloper Report' and comments from MW2012 provide some insight into the potential.) We planned the day as a mixture of inspiring talks and opportunities to get stuck into conversation about topical issues. It was also a day for making connections so we'd included coffee breaks, lunch and the unconference so that people could find others interested in similar things or to put faces to names from the MCG and DLNet lists and social media.
The various tweets I've added to storify do a reasonable job of covering the day, but I've left out things like the QR code discussion. Other conversations about generic learning outcomes have taken on a life of their own – for example, Rhiannon's post 'Generic Learning Outcomes – friend or foe?' seeks to understand why non-learning people don't seem to like them.

I thought Nick Winterbotham's presentation of the Group for Education in Museums (GEM) 'self-evident truths' was interesting, and some of his points were picked up and retweeted widely:

  • Our heritage is not about things it is about people
  • Everyone has a right to know about and be at ease with heritage
  • Heritage embraces the past and present of all cultures
  • Heritage is essential as the cradle of everyone's tomorrow
  • Heritage encompasses all literature, science, technology, environments and arts
  • The multiple narratives of heritage deserve respect
  • Learning is an entitled journey, not a destination
  • Heritage learning is an entitlement for everyone
  • The development of heritage learning skills must be a perpetual excellence
  • Learning is not simply a justification for cultural spending, it is THE justification for cultural spending

Nick advocated for a world where no-one hesitates at taking a risk in learning, and said that we love art, digital culture because of how we feel about it, not what we know about it. He urged us to focus on how your audiences live, learn and love your subject matter; to acknowledge the intellectual generosity needed; and find the big idea that will transform your organisation.

Matthew Cock talked about the challenges of audiences, particularly around mobile. The three-pronged model for audiences in museums: attract -> engage -> impact.  He asked, when you see someone in a museum with a phone, what space are they in? Are they engaged, distracted, focused? Is it a sign of disrespect and disengagement or a sign of bonding with the group they're with? And how do you know?

He talked about the work Morris Hargreaves McIntyre had done to understand their audiences and their varying motivations for visiting: social – museums as enjoyable place to spend time with friends and family; intellectual – interested in knowledge; emotional – experience what the past was like; spiritual – creative stimulation, quiet contemplation, etc.  (See also MHM's Culture Segments report). How does this connect to using mobiles to engage people? People have different activities – chat, read, recording audio or photo, playing media back, share something via social media etc. Each fulfills a different need. The challenge is to match specific things you can do on a mobile with your motivations for visiting. He referred to Maslow's hierarchy of needs to think about the needs a museum satisfies in our lives and the experience economy.

People are seeking venues and events that engage them in a memorable (and authentic?) ways – we're shifting from buying lots of stuff to seeking unique and engaging experiences. The visitor wants to walk away with the engagement having effected a transformation (the impact point of the three-pronged model). Measuring that impact is really hard. Evaluation can look at lots of things but it's hard to understand the needs of our visitors and what works for them in this space.

Later I asked what Learning people like Nick could tell us technologists about measuring impact, but it seems like it's the holy grail for their field too. Nick did mention that we go from a stage of cognitive to affective impact over time after an experience, which is a good start for thinking about this.  Judging from the response on twitter, I'm not the only one who thinks that measuring the impact of a museum experience and understanding whether it's ephemeral or lifelong is one of the big tasks for museums right now.

John Coburn's presentation on the Hidden Newcastle app harked back to the buzz around storytelling
a few years ago, but it also resonated with conversations about the different types and purposes of museum websites – an app that's not about sharing collections or objects but about sharing compelling stories fits firmly in the 'messy middle'.  In this case, 'it's the story that creates the impact, not the object. The value of the object is as the source for the story'. I love that they wanted to create intrigue about the people and the times in which they lived and compel exploration.

It was a difficult choice but I popped into the 'tech on a budget' workshop where Shona Carnall and Greg Povey presented some interesting ways to use existing, readily available technologies to create interactive experiences.

I'll leave the detail of the other presentations to the storify below and other people's posts and skip to the unconference.  Because time was short we asked for session ideas and votes from the podium, rather than letting people write ideas and put their votes up on a shared board.  After the unconference we all gathered again to hear what had been discussed in each group. The summaries were:
  • Commercial side of commissioning cool things: reluctant to put a price on it, but UK has cultural expectations around free museums which makes it harder to charge. Digital is received as god given right, something that should be free. But how come the West End theatre is able to charge so much for a ticket? Museums providing paid-for entertainment not just a browsing experience. We pay for entertainment but we don't expect to be entertained in museums. 
  • Learning outcomes: friends or foe? Attitude is sometimes that learning outcomes are rubbish – decided generic learning outcomes (GLOs) are a really good thing. It's not about shoe-horning facts into everything or pure knowledge transfer – it's also about inspiration, experience, skills, wonderment. The wondrous Romans! Trying to change the stigma about what learning actually is, it's an experience as much as formal education. Maybe 'aims and objectives' a better term than 'learning outcomes'.
  • How do you evaluate wonderment – with difficulty. What is it? Element of surprise, something being visceral, physiological responses. Are adults too cynical for wonderment? 'Smiling Victorians' – challenge expectations. Imagine writing a budget to get iris recognition to measure wonder! Hard to measure or evaluate it but should always aspire to it.
  • Coherent experience, call to action in gallery to online with mobile in gallery: talked about pressure museums are under to introduce next tech, be whizzy, or is it addressing a real need? Can you piggyback on software that's already out there?
  • Reaching different audiences: particularly teenagers: find out what inspires them, tap into that. What are the barriers to engaging them? They're creative, maybe we should work with them to create digital offers, empower them. Apps for apps sake – under pressure to deliver them.
  • Big ideas: intellectual generosity. (Goodness! There was a long list of the characteristics MCG and DLNet would have if they were an animal or a tool…)  We are intricate explosions. Intricate – all the stuff we're talking about is detailed and a little fragile but explosive because the world will catch fire with what we're doing.
  • Failure confessionals: web content management systems – maybe simple is the way to go. Failure is a good thing, and at least we didn't screw up like the bankers.
  • Social media audiences: does it make sense just to have one FB, twitter, etc account per org? Keeping a brand together is good but it doesn't always make sense to lump all audience conversations into one channel.

And with the final thanks to the student volunteers, programme committee, unconference organisers and speakers (and particularly to Ade as local contact and Rhiannon as the tireless organiser that made it all happen), it was over.

We're already looking ahead to the MCG's Spring 2013 meeting, which may be an experimental 'distributed' meeting held in the same week or evening in different regional locations.  If you're interested in hosting a small-scale event with us somewhere in the UK, get in touch!  We're also thinking about themes for UK Museums on the Web 2012, so again, let us know if you have any ideas.