2009-10-22 Presentation To Forum V2


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Website Relaunch update, presented to the Forum of Curators, Conservators, and Scientists on October 22, 2009

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  • These categories describe behaviors, not individuals—so any one person might fall into different groups at different times depending on what he or she is doing at the time—browsing with a child (families); renewing a membership (Members); researching a college assignment (students of art history).
  • For example, if we intend to continue to write descriptions of artworks with more difficult art historical terms, we may also choose to develop an interactive glossary, to make reading those descriptions easier.
  • 2009-10-22 Presentation To Forum V2

    1. 1. Website Relaunch<br />Progress Report to the Forum of Curators, Conservators, and Scientists<br />October 22, 2009<br />
    2. 2. Overview of Process<br />Project initiation<br />Need for new site led to RFP<br />Vendor selection <br />Process, engineering, experience/savvy<br />14 vendors, 3 rounds, 14 months to decision<br />Committee of 25 Met staff<br />Cognitive Applications (Cogapp)<br />
    3. 3. Cogapp’s Work<br />Single process that results in institution-specific outcomes <br />Jewish Museum website<br />British Museum website<br />National Portrait Gallery (UK) website <br />MoMA.guide gallery interactives<br />
    4. 4. Project organization<br />Project Co-Leads:<br />Douglas Hegley<br />Matt Morgan<br />Project Coordinator:<br />Morgan Holzer<br />
    5. 5. Project-related committees<br />Steering Committee<br />Advisory Committee<br />
    6. 6. Project Goals<br />Launch a new site on up-to-date technology<br />Improve workflows<br />Increase content<br />Follow best practices<br />Provide flexibility (future-proof)<br />
    7. 7. Project Timeframe<br />Phase I (definition and documentation of new site) completes in April 2010<br />Proposed Phase II (implementation and launch) May 2010 – c. July 2011 <br />
    8. 8. Project Vision Statement<br />Guides our work<br />Based on results of empirical research<br />Including stakeholder interviews, technical discovery, and user surveys and testing<br />
    9. 9. Why have a Vision Statement?<br />“The single most important determining factor for the success of a software project is its conceptual integrity.” <br />– Fred Brooks, The Mythical Man Month<br />
    10. 10. Conceptual Integrity<br />Architecture is separated from implementation.<br />Determines what goes in the system and what stays out.<br />Keeping a system focused guarantees that people will use it and enjoy it.<br />
    11. 11. Website Architecture<br />Architecture is the functional framework of the overall system.<br />Good architectural structure ensures that your site will be able to embrace both what it needs to do now and what it might need to do in the future.<br />
    12. 12. Examples<br />Good conceptual integrity and architecture: Denver Art Museum, Rockefeller Center<br />Poor conceptual integrity and architecture: AMNH<br />Comparison: Jetblue vs. American Airlines<br />
    13. 13. Architecture and Content<br />We need to build the framework first, informed by range of possible content, so that the site we build does not constrain us later.<br />
    14. 14. Content<br />Expected to expand and change over time<br />The current site did not predict podcasting, videos, interactives, social media—and all are now tacked on.<br />They had no architectural framework available<br />
    15. 15. Museum objectives & Visitor goals:We have much in common<br /><ul><li> We would like to direct, encourage, and inspire visitors — and they will welcome it
    16. 16. Visitors want the site to reflect the feel of the Museum — and we agree that it should
    17. 17. Visitors want to see and understand the art — and we want to share it</li></li></ul><li>Museum Integrity<br />Prioritize visitor needs and Museum needs based on the section or function of the site<br />Make sure that the way visitors find things on our site works for them<br />Ensure that content (what the site says) and its purpose works for us<br />By adhering to the Vision, we maintain our Integrity<br />
    18. 18. Vision Statement<br />Some user-driven assertions, some internally-driven assertions, and some from both categories<br />
    19. 19. Visitor Goals<br />Social Media<br />Engaging online experience<br />Destination in its own right<br />
    20. 20. Social Media<br />Includes personalization, sharing, visitor participation<br />MoMA’s “Social Bar”<br />My Met Museum<br />Facebook<br />ShareThis<br />
    21. 21. Engaging online experience<br />User-centered navigation and search<br />Navigation: Denver Art Museum<br />Search: Google?<br />
    22. 22. Destination in its own right<br />Online versions of Museum content, interactives, games<br />Explore and Learn, unique Special Exhibition features<br />Postopia<br />
    23. 23. Internal Goals<br />Encourage visitors to come to the Museum<br />Maximize revenue<br />Programs for hard-to-reach audiences<br />Robust content management and streamlined workflow<br />
    24. 24. Encouraging physical visits<br />On view/not on view<br />NGA<br />MFA<br />Trip planners/itineraries<br />Rockefeller Center<br />
    25. 25. Maximize revenue<br />Print on demand<br />NYPL<br />Upselling membership<br />counterexample at MMA<br />Online customer service<br />Amazon<br />
    26. 26. Both<br />Showcase the Museum’s collections, exhibitions, scholarship, programs, and services<br />Authoritative source/expert voice<br />Broad range of voices<br />Stimulate appreciation for and advance knowledge of works of art<br />Accessibility<br />
    27. 27. Authoritative & Expert<br />Heilbrunn Timeline of Art History<br />Collection Database (very often)<br />
    28. 28. Broad range of voices<br />Authored content:<br />Timeline thematic essays<br />Blogs<br />
    29. 29. Accessibility<br />The “digital curb cut”<br />OXO Good Grips utensils<br />actual curb cuts<br />correct link texts, image descriptions<br />
    30. 30. Vision Statement: Audience<br />General visitors; Art historians, lecturers, and students of art history; School children and teachers; Members, sponsors, and donors; Families; Frequent visitors to the website; International visitors; General web browsers <br />
    31. 31. Audience: why this list?<br />The Director, informed by Cogapp’s research, ranked the groups on the list.<br />
    32. 32. What does it mean?<br />Some challenges are explicit, for example:<br />how to prioritize both “Students of art history” and “General visitors?<br />how much to translate into foreign languages?<br />Meeting them will dictate resource commitments<br />
    33. 33. Ad Hoc Committee<br />Specific concerns<br />
    34. 34. Website and TMS<br />TMS standardization and consolidation project is independent, but related<br />Benefits to the website:<br />Improved object pages<br />Smoother navigation within objects<br />More objects online<br />
    35. 35. “Branding” & “Museum Voice”<br />The website does not determine either.<br />The website reflects these things as defined by the Director.<br />
    36. 36. Questions?<br />