How can museums become more sustainable and at the same time spend more time, fun and value with their audience. How to turn visitors into fans and fans into friends?

1. R e l e va n t
f o r e v e r
R W A 2 0 1 4
What is it...
Step
by
step
to
an
understanding
of
iden%ty
&
fangagement,
how
they
strengthen
eachother;
using
social
media
1.understanding
what
environment
and
business
we/you
are
in
2.understanding
the
iden>ty
and
values
of
your
organiza>on,
how
it
works
to
aAract
an
audience
based
on
shared
interest
3.personifying
this
iden>ty,
building
rela>ons
with
individuals
4.geDng
an
understanding
of
the
assets,
the
main
ac>vi>es,
rela>onships
and
distribu>on
channels
(“venues
or
mee>ng
places”)
of
your
organiza>on
5.find
out
who
to
follow,
who
wants
to
follow
you
and
who
to
involve.
Which
all
together
will
lead
to
a
more
sustainable
organisa>on,
that
is
relevant
for
visitors,
stakeholders,
partners,
society.
AMer
this,
the
Digital
Engagement
Framework
will
lead
you
to
further
understanding,
and
to
puDng
things
into
prac>se.

2. R e l e va n t
f o r e v e r
R W A 2 0 1 4
What does it...
• introduc>on
-­‐ the
Big
Idea:
why,
how
&
what,
who:
the
power
source
-­‐ making
heritage
relevant:
iden>ty
&
fangagement
• business
model
canvas
turned
around
• Ready,
SET,
Go!
• your
case
within
12
+
ques>ons,
you'll
have
created
the
basis
for
your
organisa>on’s
sustainability

3. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Relevant forever means
...
how
to:
• ar>culate
a
dream
•make
the
dream
come
true
• share
this
dream
• keep
your
dream
alive
• together
with
your
audience,
stakeholders,
partners

4. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Relevant forever means: dare your dream
“If
you're
not
prepared
to
be
wrong,
you'll
never
come
up
with
anything
original.”
Ken
Robinson
The
Element:
How
Finding
Your
Passion
Changes
Everything

5. R e l e va n t
f o r e v e r
R W A 2 0 1 4
This comes from

6. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Finally we start doing business
“The
truth
is
that
most
company
leaders
are
too
narrow
in
defining
their
compe??ve
landscape
or
market
space.
They
fail
to
see
the
poten?al
for
“non-­‐tradi?onal”
compe?tors,
and
therefore
oFen
misperceive
their
basic
business
defini?on
and
future
market
space.
But
the
biggest
threats
usually
come
from
oblique
compe?tors
that
are
solving
the
same
problem,
in
a
different
way
with
an
alternate
offering
for
the
customer.”
That
compe1tor
could
be
a
museum.
It
could
be
you.
‘‘We
don’t
want
to
go
back
to
the
same
normalcy
that
we’re
coming
from.
We
will
create
a
new
normalcy
which
will
stay
and
keep
on
moving
and
change
the
world.’’
Nobel
Peace
Prize
winner
Muhammad
Yunus,
World
Economic
Forum
2009,
Davos
1.
what
business
are
you
in
right
now?
Identity - ground level
http://legalpedia.wordpress.com/2009/04/06/islamic-finance-in-the-blue-ocean/
google
glass
blue
ocean
strategy

7. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Big Idea: Power source
Wankel engine effect
vision
beckoning power
imaginative + influencing
draw attention / give direction
strategy
mission
working power
value creating + awareness
(identity) / problem solving
Identity - ideation phase
relation
recruiting power
connecting, behavioral
change, participation
strategy
strategy

8. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Power source: Big Idea
A
Big
Idea
is
a
game-­‐changer.
It
shiMs
paradigms
and
turns
category
conven>on
on
its
head.
The
power
source
of
your
organisa>on
is
defined
by
the
core
of
existence:
vision,
mission,
rela>on,
put
into
one
sentence.
It
tells
why
your
organisa>on
exists
and
for
whom.
2.
describe
the
powersource
of
your
organisa>on,
using:
• visionairy/beckoning
power
(“look!”)
• missionairy/working
power
(“because...”)
• rela>onal/recrui>ng
power
(“and
so,
that
means…”)
summarize
them
in
one
sentence…
Identity - ideation phase

9. R e l e va n t
f o r e v e r
R W A 2 0 1 4
How can the past help you to understand your identity?
Identity - ideation phase

10. R e l e va n t
f o r e v e r
R W A 2 0 1 4
How can the present help you to enjoy your identity?
Identity - ideation phase

11. R e l e va n t
f o r e v e r
R W A 2 0 1 4
How can our future help you to make your identity
Identity - ideation phase
more versatile?

12. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Why? Don't we like museums the way they are?
Fab the Library! KNVI Congres 2014
Identity - ideation phase
The first 'museum'
was actually a library.
Museums and libraries
still share the
principle of collecting
wisdom, knowledge,
beauty and
amazement. Both
function as a meeting
place. Together they
can contribute to
shaping the future,
our future.

13. R e l e va n t
f o r e v e r
R W A 2 0 1 4
heritage is conversation… (museums are)
distributed
(inside
out)
connected
(social,
rela>onal)
dispersed
(loosely
joined)
enabling
(interac>on
educa>on)
temp>ng
(for
who?)
learning
(from
everyone)
par>cipa>ng
(in
society)
building
sustainable
(rela>ons)
What
are
the
values,
ambi>ons,
targets,
roles/tasks
your
audience
is
looking
for?
Where
can
you
meet?
Identity - ideation phase

14. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Fangagement - followers
• Concep>ng
(Jan
Rijkenberg
-­‐
BSUR)
is
bringing
thought-­‐concepts
/
big
ideas
‘to
market’,
for
the
process
of
aArac>ng
audiences,
based
on
the
mentality
concept
of
an
organisa>on
(instead
of
spending
too
much
budget
on
marke>ng,
trying
to
convince
people).
• Societal
marke>ng
is
the
planning
and
implementa>on
of
programs
designed
to
bring
about
social
change
using
concepts
from
commercial
marke>ng.
• by
sharing
the
things
and
thoughts
that
are
really
important
to
you
and
your
museum,
coming
from
the
iden>ty
and
the
values
(and
the
collec>on?),
you
give
your
audience
the
chance
to
(dis)agree
with
you
and
become
a
follower
(instead
of
an
anonymous
target
group).
Brand - concepting phase

15. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Fangagement - followers; turn museums into a 'lovemark'
Brand - concepting phase
Unesco, World Wildlife
Fund, Forest
Stewardship Council,
Amnesty
International, Google
Art Project… they all
use social media to
engage their fans.

16. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Fangagement - followers; contributing to a bigger theme
Brand - concepting phase
a zoo, which is
concerned about the
disappearance of the
tropical rainforest,
starts a conversation
about this with the
visitors. Together
they do fundraising to
support something
bigger, a transcendent
purpose, than the zoo.

17. R e l e va n t
f o r e v e r
R W A 2 0 1 4 Many
people
think
alike
these
days…
approach - PERMA & well-being
P.E.R.M.A.
*
Mar>n
Seligman
•Posi>ve
emo>ons
• Engagement
•Rela>ons
•Meaning
and
purpose
•Accomplishment
Brand - concepting phase

18. R e l e va n t
f o r e v e r
R W A 2 0 1 4
value / ambition
• by
knowing
what’s
concerning
your
audience,
and
what
the
most
challenging
issues
in
society
are,
you
have
the
opportunity
to
start
a
conversa>on.
Mobile
technology
and
web-­‐infrastructure
give
you
the
possibility
to
make
this
conversa>on
personal.
• this
way
we
combine
Concep>ng
and
Societal
marke>ng.
That’s
the
basis
of
value
crea>on
and
exchange.
3.What
are
the
core
values,
considering
your
heritage?
What
is
the
most
daring
ambi>on
of
your
organisa>on?
4.Why
are
these
values/issues/topics
important
for
your
fans?
Brand - concepting phase

19. R e l e va n t
f o r e v e r
R W A 2 0 1 4
attribute to a better world
Brand - concepting phase

20. R e l e va n t
f o r e v e r
R W A 2 0 1 4
let your fans attribute to core values in your heritage
Brand - concepting phase

21. R e l e va n t
f o r e v e r
R W A 2 0 1 4
being social (and adaptive, non-linear, inclusive, etc.)
Brand - concepting phase

22. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Rijksstudio: let your visitors design - fungagement?
Brand - concepting phase

23. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Rijksstudio: don't let copyright spoil the fun; share!
Brand - concepting phase
Dealing with copyright
means dealing with
your business model.
It also means you
have to come up with
something else than
selling copies to your
audience. Cocreation
is one of the answers

24. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Rijksstudio: customers as partners - storytelling
Brand - concepting phase

25. R e l e va n t
f o r e v e r
R W A 2 0 1 4
sharing a label, values, ambitions: storytelling…
Business - organisation phase

26. R e l e va n t
f o r e v e r
R W A 2 0 1 4
storytelling: smart replicas
Brand - concepting phase

27. R e l e va n t
f o r e v e r
R W A 2 0 1 4
storytelling: smart replicas
Brand - concepting phase

28. R e l e va n t
f o r e v e r
R W A 2 0 1 4
your case
• describe
a
main
issue
your
organisa>on
is
facing,
when
engaging
both
audiences
and
stakeholders
and
the
way
finance
and
funding
(or
the
lack
of
money)
is
involved.
What
is
the
real
boAleneck?
(in
less
than
5
minutes...)
• working
on
one
of
the
5
cases
in
small
groups
• plenary
session
with
the
outcomes
of
the
cases
with
brief
feedback
on
the
general
issues
5.describe
an
issue
your
visitor
is
facing
when
dealing
with
daily
life,
informa>on
overflow,
technology,
media
literacy,
etc.
Business - organisation phase

29. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools
• Business
Model
Canvas
(Osterwalder
&
Pigneur)
• Systema>c
Inven>ve
Thinking
• Social
Engagement
Tool
• Innovate
by
doing
(just
do)
Business - organisation phase

30. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools - 1. business model canvas
Business - organisation phase

31. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools - 1. business model canvas
the
business
model
canvas
in
a
nutshell
• how
to
use
the
canvas
6.what
are
the
main
assets
of
your
museum,
what
are
you
good
at?
7.what
are
the
main
ac>vi>es?
8.describe
the
most
important
rela>onships
9.which
distribu>on
channels
(“venues
or
mee>ng
places”)
does
your
museum
use?
Business - organisation phase

32. R e l e va n t
f o r e v e r
R W A 2 0 1 4
our heritage, our business
Business - organisation phase

33. R e l e va n t
f o r e v e r
R W A 2 0 1 4
business model value proposition
Business - organisation phase

34. R e l e va n t
f o r e v e r
R W A 2 0 1 4
business model innovation step by step
Business - organisation phase

35. R e l e va n t
f o r e v e r
R W A 2 0 1 4
business model innovation step by step
Business - organisation phase

36. R e l e va n t
f o r e v e r
R W A 2 0 1 4
business model innovation step by step
Business - organisation phase

37. R e l e va n t
f o r e v e r
R W A 2 0 1 4
business model bottom-up
as part of strategic change process
5. plan
/ act
4. social / reach
3. business model
2. strategy / values
1. vision / mission / relation
Business - organisation phase
environmental factors

38. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools - 2. Systematic Inventive Thinking (SIT)
• Systema>c
Inven>ve
Thinking
(SIT)
can
be
used
to
come
up
with
new
ideas
from
exis>ng
ideas,
knowledge
and
crea>vity,
based
on
the
exper>se
and
assets
within
your
organisa>on
• SIT
can
also
be
used
for
(reinven>ng)
your
communica>on,
engagement
and/or
use
of
new
media
Business - organisation phase

39. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools - 2. Systematic Inventive Thinking (SIT)
Systema>c
Inven>ve
Thinking
(SIT)
is
a
thinking
method
developed
in
Israel
in
the
mid-­‐1990s
by
PhD
students
Jacob
Goldenberg
and
Roni
Horowitz.
SIT
is
a
prac>cal
approach
to
crea>vity,
innova>on
and
problem
solving,
which
has
become
a
well
known
methodology
for
Innova>on.
Derived
from
Genrich
Altshuller’s
(born
Tashkent,
Uzbek
SSR,
USSR,
15
October
1926;
died
Petrozavodsk,
Russia,
24
September
1998)
TRIZ
(теория),
which
is
also
known
as
Theory
of
Inventive
Problem
Solving
(TIPS):
inventive
solutions
share
common
patterns.
Focusing
not
on
what
makes
inventive
solutions
different
-­‐
but
on
what
they
share
in
common
-­‐
is
core
to
SIT’s
approach.
These
paAerns,
that
build
somehow
the
DNA
of
profitable
ideas,
could
be
translated
into
thinking
tools
that
can
be
applied
on
exis>ng
situa>ons.
Like
this
we
implement
this
‘DNA’
in
exis>ng
products,
processes
or
strategies
to
create
a
new
situa>ons
from
the
current
state
that
break
mental
fixedness
and
make
new
valuable
ideas
available,
that
s>ll
are
not
to
far
away
from
the
star>ng
point.
Business - organisation phase

40. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools - 2. Systematic Inventive Thinking (SIT)
SIT
works
with
5
different
thinking
styles.
These
lead
to
specific
and
prac>cal
ideas
on
a
structured
and
disciplined
way:
• SUBTRACTION
Remove
an
essen>al
component
from
a
product
and
find
uses
for
the
newly
envisioned
arrangement
of
the
exis>ng
components.
This
abstracted
arrangement
is
known
as
a
‘virtual
product’.
Generally
speaking
there
is
a
tendency
to
add
new
aspects
and
func>onali>es
during
product
development.
However,
successful
innova>ons
show
that
oMen
more
is
achieved
by
removing
aspects
or
func>onali>es.
One
should
take
a
systema>c
look
at
what
impact
it
would
have
on
the
various
customer
groups
if
one
were
to
remove
a
func>onality.
Business - organisation phase

41. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools - 2. Systematic Inventive Thinking (SIT)
SIT
thinking
styles:
• MULTIPLICATION
Add
to
a
product
a
component
of
the
same
type
as
an
exis>ng
component.
The
added
component
should
be
changed
in
some
way.
The
2
keywords
for
this
tool
are:
1)
more
-­‐
add
more
copies
of
something
that
exists
in
the
product
2)
different
-­‐
change
those
copies
according
to
some
parameter.
Rather
than
subtrac>ng
elements,
one
can
double
or
triple
certain
components
of
the
product.
Instead
of
a
two-­‐wheel-­‐drive
one
offers
a
four-­‐wheel-­‐drive,
and
one
includes
five
audio
speakers
rather
than
four.
Business - organisation phase

42. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools - 2. Systematic Inventive Thinking (SIT)
SIT
thinking
styles:
• DIVISION.
Divide
the
product
and/or
its
components
and
rearrange
them
to
form
a
new
product.
Using
this
tool
forces
considera>on
of
different
structures,
either
on
the
level
of
the
product/service
as
a
whole,
or
on
the
level
of
an
individual
component.
Dividing
a
product
to
many
pieces
gives
the
freedom
to
reconstruct
it
in
many
new
ways
–
it
increases
our
Degrees
of
Freedom
for
working
with
the
situa>on.
One
divides
a
product
into
its
components,
offering
modules
that
can
be
used
to
construct
the
eventual
product.
Rather
than
buying
an
integrated
sound
system,
people
can
purchase
a
tuner,
amplifier,
speakers,
DVD-­‐player,
etc.
separately.
Business - organisation phase

43. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools - 2. Systematic Inventive Thinking (SIT)
SIT
thinking
styles:
• TASK
UNIFICATION
(MERGING
OF
TASKS)
Assign
a
new
and
addi>onal
task
to
an
exis>ng
resource.
Less
affluent
cultures
are
more
likely
to
adopt
the
Task
Unifica>on
mindset.
For
example,
the
Bedouins
use
camels
for
a
number
of
different
tasks:
transporta>on,
currency,
milk,
skin
for
tents,
shade,
protec>on
from
the
wind,
burning
feces
for
fuel.
More
affluent
socie>es
tend
to
jeDson
resources.
Here
two
tasks
are
merged
into
one
component.
For
example
a
coffee
machine
combined
with
a
thermos.
Business - organisation phase

44. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools - 2. Systematic Inventive Thinking (SIT)
SIT
thinking
styles:
• ATTRIBUTE
DEPENDENCY
(CHANGE
THE
DEGREE
OF
DEPENDENCY)
Crea>ng
and
dissolving
dependencies
between
variables
of
a
product.
AAribute
Dependency
works
with
variables
(of
a
feature)
rather
than
components.
Variables
are
easy
to
iden>fy
as
those
characteris>cs
that
can
change
within
a
product
or
component
(e.g.
color,
size,
material).
Take,
for
instance,
a
pair
of
sunglasses.
The
lenses
in
Polaroid
sunglasses
change
color
when
they
are
exposed
to
varying
amounts
of
light.
The
processors
of
laptop
computers,
to
name
another
example,
alter
their
processing
speed
when
the
baAeries
are
running
low.
(source:
Wikipedia
/
HBR
2003-­‐05-­‐03;
Goldenberg,
Horowitz,
Levav
and
Mazurski)
Business - organisation phase

45. R e l e va n t
f o r e v e r
R W A 2 0 1 4
systematic inventive thinking
SIT
principles:
• Closed
world:
thinking
inside
the
box
Business - organisation phase
(define
the
problem
world.
Once
defined,
the
problem
solver
knows
that
all
the
building
blocks
for
the
solu>on
are
right
there
in
front
of
him
and
that
the
solu>on
simply
requires
the
reorganiza>on
of
the
exis>ng
objects.
This
adds
great
focus
and
power
to
the
method).
• Qualita>ve
change
• Func>on
follows
form
(backwards
process;
prototyping
a
‘virtual
product’)
• Path
of
most
resistence
• Cogni>ve
fixedness
• Near
Far
Sweet
(innova>on
sweet
spot):
innova>ve
enought
to
be
considered
‘new’
/
‘an
addi>on’,
but
close
enough
to
be
recognised
and
understood
(most
ideas
for
new
products
are
either
uninspired
or
imprac>cal.
Finding
the
"sweet
spot"
requires
a
balance
that
leads
to
both
ingenious
and
viable
ideas).
10.What
would
be
the
Near
Far
Sweet
for
your
customer
and
why
is
(s)he
over
there?

46. R e l e va n t
f o r e v e r
R W A 2 0 1 4
systematic inventive thinking
SIT
example
Business - organisation phase

47. R e l e va n t
f o r e v e r
R W A 2 0 1 4
4 tools - Social Engagement Tool (SET)
• new
insights
on
idea>on,
concep>ng,
societal
marke>ng
and
par>cipa>on
• explaining
the
SET
board
and
the
steps
in
working
with
this
tool
11.
who
to
follow
and
who
to
involve
using
social
media:
why
and
how
could
your
organisa>on
par>cipate
in
society?
Social - relation phase
SET
Ready, SET, Go!
vademecum / werkboek
Bouwen aan relaties, vrienden maken en de
sociale kant van de organisatie innoveren
klaar voor . . .
Theo
Meereboer
COMMiDEA / Stichting E30
inclusief
Social
Engagement
Tool !
download
not
yet
available

48. R e l e va n t
f o r e v e r
R W A 2 0 1 4
SET canvas - from identity to storytelling, together
title/subject
SET
board IDENTITY
vision
mission
relation
> core text (pay off / premisse)
[credibility]
© Theo Meereboer
Stichting E30 2013
date
participants
BRAND (strategy)
values
ambition
targets
task / role
followers
[attractiveness+ appeal]
business (model)
assets
channels
customers
>> propositions
[profitability]
projects (iterative)
for each project name a.o.
- purpose
- 5 main ‘elements’ / ‘ingredients’ (what makes them
work, what happens if...)
- engagement (for whom, why)
- media (which, where, when)
- milestones (incl. targets & KPI) in visionairy terms
- time (urgency, planning, within 5/10 years)
Q: What is the relation to the upper part of the board?
And to the lower right part?
[think of sustainability]
Social
transition added value
call to action
participation
reach
relevance
communication
initiatives
involvement
interest
conversations
believers influencers
stakeholders ambassadors
conversion
why
how
what
who
moral transactional
1
2
3
4
READY
5
GO! SET
Social - relation phase

49. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Social Matrix
1
2
3
4
READY
5
GO! SET
Social - relation phase
Social
transition added value
call to action
participation
reach
relevance
communication
initiatives
involvement
interest
conversations
believers stakeholders ambassadors
influencers
conversion
why
how
what
who
moral transactional

50. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Community management
1
2
3
4
READY
5
GO! SET
Social - relation phase

51. R e l e va n t
f o r e v e r
R W A 2 0 1 4
from friendraising to funding (including crowdsourcing)
• the
shortage
• the
long
term
• 5
x
R:
1. Research
(audience
/
agora
/
themes
/
topics)
2. Reach
(media
choice,
>ming)
3. Rela>ons
4. Resources
(content,
crea>on,
crowd)
5. Relevance!
12.Who
are
the
greatest
fans
and
how
can
you
maintain
a
(co-­‐
crea>on)
rela>onship
with
them?
What’s
it
worth?
(visits,
contribu>ons
/
co-­‐crea>on,
meta-­‐data,
money,
etc.)
Practical - realisation phase

52. R e l e va n t
f o r e v e r
R W A 2 0 1 4
museum as part of a knowledge ecology - sharing + caring
blog /
facebook / twitter /
google+
scooop. it!
paper.li
etc.
platform
+ experience / opinion
+ news
(blog , social media, magazine)
+ anouncements (event, tentoonstelling, conferentie)
+ node / hub
(social media, contact information)
+ ‘best practice’
(showcases, project beschrijvingen)
+ knowledge database
(publicaties, presentations)
+ external sources
seminar
Practical - realisation phase
expo /
site /
museum
event
photo
3D / AR
video
e.g. issuu /
slideshare /
flipbook /
pinterest
internship
curriculum
debate
+ LinkedIn
game
research
app
mobile

53. R e l e va n t
f o r e v e r
R W A 2 0 1 4
peers, friends, fans, fellow heritage professionals
• any
customer
or
user
‘visi>ng’
your
museum
already
said
yes.
Accompany
them
on
their
journey
through
the
whole
environment
of
your
museum
(Mar>n
Barden,
Tate)
•
Will
you
offer
heritage,
art,
an
experience,
products,
services,
discount,
exclusiveness
in
this
journey?
• Are
they
in
for
membership,
philantropy,
benefits,
sociability,
excitement,
informa>on
co-­‐crea>on...
• how
about
the
brand
promise,
systems,
reten>on
engagement,
life>me
value,
customer
mo>va>on...
13.does
every
step,
every
interac>on
in
the
journey
strengthen
the
‘bold
promise’
of
your
organisa>on?
How
can
you
make
the
world
a
beAer
place
,
which
rela>onships
can
be
restored?
Practical - realisation phase

54. R e l e va n t
f o r e v e r
R W A 2 0 1 4
Thank you!
Ques1ons?
Sugges1ons?
@theomeereboer
S>ch>ngE30.nl
COMMiDEA.nl
Erfgoed20.nl
collec1ewijzer.nl
inheritage.eu