Axiell Customer Projects From Around The World: What Our Most Successful Customers Are Doing Well
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This document discusses ways that museums can raise the profile of their collections through digital initiatives. It provides examples of projects from museums around the world that are using Axiell's collection management software to digitize collections, improve online access and engagement, and better connect their collections for research and educational purposes. Specific initiatives highlighted include the Qatar Museums' centralized management of the country's cultural assets, a joint Danish museum database project, and the Rijksmuseum's open access policies and linked data integration. The document also discusses how museums can use digital tools to crowdsource transcription and improve online exhibits, outreach, and education.
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Axiell Customer Projects From Around The World: What Our Most Successful Customers Are Doing Well
- 1. Axiell Seminar: Raising The Profile Of Your Museum Collections WORLDWIDE EXAMPLES Axiell Customer Projects From Around The World: What Our Most Successful Customers Are Doing Well
- 2. ARCHIVES LIBRARIES MUSEUMS What are some examples of good practice in creating a sustainable infrastructure for digital content and raising your profile? MANAGE | ENGAGE | PLAN | CONNECT
- 3. ARCHIVES LIBRARIES MUSEUMS Qatar Museums – managing a country’s cultural assets Central Axiell Server Acquisitions Stores & Collections Management Museum of Islamic Art National Museum of Qatar 3-2-1 Qatar Olympic & Sports Museum International Media Collection Mathaf Orientalist Museum Pearl & Jewelry Museum Qatar Museum of Nature & Science Public Art Textile & Fashion Department QMA Exhibitions • Secure data Different access • Management access Access to all collections No integration issues • Change is easy Policies and procedures • Separated by security profile Record level security • Location management Easy for shared stores • Reduce risk of data losses Disaster recovery and audit
- 4. ARCHIVES LIBRARIES MUSEUMS Super User Registrar Curator Conservator Art Handler Multimedia Galleries Temp. Exhibition Related Items Read only Central Axiell Server Acquisitions Stores & Collections Management Museum of Islamic Art National Museum of Qatar 3-2-1 Qatar Olympic & Sports Museum International Media Collection Mathaf Orientalist Museum Pearl & Jewelry Museum Qatar Museum of Nature & Science Public Art Textile & Fashion Department QMA Exhibitions Qatar Museums – managing access securely
- 5. ARCHIVES LIBRARIES MUSEUMS slks.dk Projekt SARA Denmark – managing a country’s cultural assets
- 6. ARCHIVES LIBRARIES MUSEUMS Projekt SARA Denmark – managing a country’s cultural assets kulturognaturreise.files.wordpress.com/2014/09/kulturstyrelsen-sara.pdf “It has been decided that during the strategy period a joint museum database to be used by all museums must be established. The goal is to make it easier and cheaper to record the collections and to re-use the data for dissemination and research.” (Danish Ministry for Culture – Strategy for Digitisation 2012-2015) MANAGE Axiell ENRICH GIS, Thesaurus ENGAGE Publish online as LOD?
- 7. ARCHIVES LIBRARIES MUSEUMS Trades Union Congress Library
- 8. ARCHIVES LIBRARIES MUSEUMS Swedish Film Institute managing Sweden’s film heritage http://www.filminstitutet.se/sv/om-oss/press/pressbilder/ Foto: Mark Standley Svenska Filminstitutet MANAGE All film archive material CONNECT With other film archives ENGAGE Rebuild entire web site
- 9. ARCHIVES LIBRARIES MUSEUMS Online Requests Case Study University of St Andrews PublishDAM (Axiell) OrganiseImportPhotograph St Andrews University – workflow & managing digital assets
- 10. ARCHIVES LIBRARIES MUSEUMS Case Study York Museums Trust York Museums Trust – workflow & managing digital assets York Museums Trust Digitization Documentation
- 11. ARCHIVES LIBRARIES MUSEUMS www.rijksmuseum.nl/rijksstudio Rijksmuseum Amsterdam – opening up collections
- 12. ARCHIVES LIBRARIES MUSEUMS www.rijksmuseum.nl/api Linked Data Integration, LOD API, COPE “If they want to have a Vermeer on their toilet paper, I’d rather have a very high-quality image of Vermeer on toilet paper than a very bad reproduction” Taco Dibbits, the director of collections at the Rijksmuseum. http://www.nytimes.com/2013/05/29/arts/design/museums-mull- public-use-of-online-art-images.html Rijksmuseum Amsterdam – opening up collections
- 13. ARCHIVES LIBRARIES MUSEUMS ken-adam-archiv.de Deutsche Kinemathek storytelling
- 14. ARCHIVES LIBRARIES MUSEUMS collections-search.bfi.org.uk British Film Institute – crowdsourcing to create better quality (engaging) digital content
- 15. bfi.org.uk/britain-on-film ENGAGE Improve map accuracy via crowds. British Film Institute – crowdsourcing to create better quality (engaging) digital content
- 16. ENGAGE Improve data, engage with new users Smithsonian & Australian Museum – crowdsourcing to create better quality (engaging) digital content Atlas of Living Australia http://volunteer.ala.org.au/ Smithsonian Transcription Center https://transcription.si.edu/
- 17. ARCHIVES LIBRARIES MUSEUMS sammlung.staedelmuseum.de Städel Museum - digital ‘strolling’
- 18. Glasgow Museums More data for more users Release as much data as possible on CMS • Object (up to 500,000) • People (currently 800 available) • Sites (45) • Exhibition records • Media (110,000 digital images) • Collection Level Descriptions – 1258 Data - easy to change Related / linked data Responsive Resource for Teachers
- 19. Imperial War Museum Digital Asset Mgt & Workflow
- 20. ARCHIVES LIBRARIES MUSEUMS www.technischesmuseum.at Vienna Technical Museum (TMW) 90% of collections online
- 21. ARCHIVES LIBRARIES MUSEUMS National Historical Museums Sweden Digitisation of Sweden’s history http://alm.axiell.com/news/swedish-history-museum-makes-largest-viking- age-collection-globally-accessible-axiell Rapid digitisation & enrichment & connection “It is amazing to be able to tie collections together with the thousands of others worldwide” Wilhelm Lagercrantz, Digital Development at the Swedish History Museum.
- 22. Digitalization or Digitization? National Historical Museums Sweden Presentation Axiell European User Conference May 4th, 2017
- 23. Samples from our digital strategy • Increase the use and accessibility of our collections and exhibitions, nationally and globally • Users should be able to influence information in our digital resources. • Be a resource to the whole country and to all citizens. • Increase the quality of our digital resources • Increase usability of our digital resources • Increase quality of user interfaces • Reach out better in social media • Collaborate with other institutions • Use controlled vocabularies for persons, places and events National Historical Museums Sweden Presentation Axiell European User Conference May 4th, 2017
- 24. Future National Historical Museums Sweden Presentation Axiell European User Conference May 4th, 2017
- 25. 3D scans National Historical Museums Sweden Presentation Axiell European User Conference May 4th, 2017
- 26. Db Web page Real object Exhibition Meta data National Historical Museums Sweden Presentation Axiell European User Conference May 4th, 2017
- 27. National Historical Museums Sweden Presentation Axiell European User Conference May 4th, 2017
- 28. National Historical Museums Sweden Presentation Axiell European User Conference May 4th, 2017
- 29. ARCHIVES LIBRARIES MUSEUMSARCHIVES LIBRARIES MUSEUMS Beacons
- 31. ARCHIVES LIBRARIES MUSEUMSARCHIVES LIBRARIES MUSEUMS
- 32. ARCHIVES LIBRARIES MUSEUMS Making museums relevant and core to learning “Connecting Museums with education in a digital environment” Axiell Education & Axiell ALM
- 33. CONNECTING MUSEUMS WITH EDUCATION A single destination website should be created, bringing all Cultural Education resources together in one easily accessible place online. In a digital environment Henley, Darren (2012), Cultural Education in England Report, DCMS & Dept. for Education <https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/260726/Cultural_Education_report.pdf>
- 34. The student – the pupil takes centre stage (learning by stealth) The teacher – easy access to trusted, reviewed & engaging content The museum educator – a closer connection to the audience helps ensure content is relevant and used. The school – an easier way to engage directly with museums The museum - Feedback and analytics to track goals for engagement. Justify existence, create funding opportunities Community – successful pupil engagement can help reach out through family and friends WHO CAN BENEFIT?
- 35. THE PROBLEMS IN THE PLAN
- 36. Lacking digital infrastructure between schools and museums. Museums don’t reach schools efficiently MuseumSchool Digital learning resources Museum Content Museum Pedagogy THE EXTERNAL ACCESS PROBLEM British Museum www.britishmuseum.org/learning/schools_and_teachers/resources.aspx Imperial War Museum www.iwm.org.uk/history/learning-resources V&A www.vam.ac.uk/page/t/teachers-resources/ Ashmolean www.ashmolean.org/education/resources/ NHM www.nhm.ac.uk/schools/teaching-resources.html
- 37. THE TANK PROBLEM Teachers want to find stuff quickly and easily “I want to find something about tanks” Online Access Online Access Museum Museum Content Museum Pedagogy GOOGLE TES BBC BITESIZE Google ImagesTES resourcesBBC Bitesize
- 38. How can we overcome these problems and increase the use of museum and cultural information as key learning resources for schools and the community?
- 39. MuseumSchool Axiell Education Platform Axiell Collections Platform Museum Pedagogy Axiell Open API Steering documents for teachers Axiell Open API THE SOLUTION School Axiell Education Platform Axiell Collections Platform Museum Pedagogy Axiell Open API Steering documents for teachers Axiell Open API Axiell Open API Other online learning platforms Museum
- 40. The Number 1 in Collections Management Technology Software solutions for art museums, cultural & natural history museums, archives & special libraries ARCHIVES LIBRARIES MUSEUMS
Editor's Notes
- Documentation policies mean that a change in legal process for customs or an acquisition process can be changed in one place and made available to all museums in Qatar. This would have to be duplicated if another system was used Terminology control with Arabic data is available centrally. A term list used in one place can be updated for other museums to use. A separate system would require additional integration work for shared terminology and it may not be able to support Arabic and multiple languages in the same field, eg. a term in French, English and Arabic. Staff knowledge and management of users. At QM “super users” are available across the different museums and share ideas and ways of working in EMu. This knowledge makes it easier to train staff and to work on collaborative projects. Eg. Importing images, creating a shared exhibition across different collections. Skills in a different system are not transferable so separate procedures, training and user management is required. Common processes, eg. loans, conservation, exhibition planning, location management can be managed and updated centrally Any change to a process would require additional configuration, training, security assessment and perhaps integration work Multi-discipline support. This means that all collections have their own view but managed in a consistent way suitable to that collection. Eg. archives, art and natural history records can all be managed centrally in EMu. No other system has the flexibility and ability to manage the breadth of records that EMu can. This is why it is the system of choice for TCA, Qatar, Dubai, Egypt, National Museum of Australia, Smithsonian Institution, National Museum of New Zealand, Natural History Museum London, etc. Narratives and stories. Interpretation and management of intangible heritage is included in EMu. Oral histories and stories about a region or culture can be documented and manged within EMu alongside other object data. This is very important in the Middle East region where storytelling is a traditional way of life and museum documentation needs to support this. EMu’s ability to manage oral histories and the related digital assets is important. This is unavailable in many other systems and if it is available it is not as comprehensive nor has the close digital asset management integration.
- Customised Adlib Enterprise solution and browser based back-end Axiell Collections. 104 museums Hundreds of concurrent users Centralised data and authority controls Fully web based Working closely with ODM which is the equivalent of the Swedish Association of Museums
- Customised Adlib Enterprise solution and browser based back-end Axiell Collections.
- Customised Adlib Enterprise solution and browser based back-end Axiell Collections. 104 museums Hundreds of concurrent users Centralised data and authority controls Fully web based Working closely with ODM which is the equivalent of the Swedish Association of Museums
- “I don’t care if
- The website is based on a content management system that ingests data via the Adlib API and enriches it with essays. In the Ken Adam project, hires scans of drawings and photographs were linked to the database using Adlib Ingest Tool which batch processes image files and metadata stored within the file header. Show red hand slider on homepage (or at the bottom of https://ken-adam-archiv.de/projekt).
- On BFI’s Adlib Internet Server page (e.g. Dr. Strangelove) click on BFI homepage and from there choose Britain on Film.
- The project combines filmographic data with geographic information and uses the Adlib API. Furthermore, it leverages crowdsourcing to increase the granularity of BFI's geodata.
- The project combines filmographic data with geographic information and uses the Adlib API. Furthermore, it leverages crowdsourcing to increase the granularity of BFI's geodata.
- Extending object catalogue with Iconclass and other keywords to enable references to other works.
- The project combines filmographic data with geographic information and uses the Adlib API. Furthermore, it leverages crowdsourcing to increase the granularity of BFI's geodata.
- The project combines filmographic data with geographic information and uses the Adlib API. Furthermore, it leverages crowdsourcing to increase the granularity of BFI's geodata.
- The project started in 2012 with the replacement of a self-developed archive and object database. Later on, the museum extended the Adlib application and also converted all legacy data from a library management system into Adlib XPlus (Archive+Library+Museum). One year ago, approximately 160,000 collection items were published online. Object record (show second image!) with links from thesaurus keywords (object and geographic name) and actors to other resources (Wikipedia and GeoNames). Mention Linked Data Integration Service (AKA ‘Annotation Tool’). Expand “Feinerschlossenes” (i.e. detailed indexed/catalogued objects) and show introduction text, then online collection with facetted search (“Objekte der Sammlung”).
- Typically, Beacons look like this. Each beacon has a Major and Minor number assigned to it. In order for your Onyx app to communicate with your beacons, you will need to record the major and minor in your narratives records. You can attach as many narratives records to one beacon.
- Onyx is an app that Axiell has developed that uses beacon technology to push information to mobile devices about objects that you are close to. Narratives, Multimedia and Catalogue data
- So, the way it works is You simply download the Onyx app for your apple or android device (iPhone, iPad and other portable devices) to access information published directly from your collections management system. Signals are transmitted via Bluetooth Low Energy (BLE) with a unique ID number Devices receive the signal with the attached ID As you move around your displays, Onyx uses beacon technology to push information to your mobile device about the objects you are close to. As well as textual information about your collection objects, you can also display multimedia-rich content such as photos, audio and video. You can interact with the content until you move out of range of the current beacon And within range of another You control what collections information is published. Onyx only publishes the collections information that you choose to make available to the public.
- The Henley report in 2012 highlighted the need for centralised “cultural education” resources. I have pulled out the key areas that we think need to be addressed. CREATE CULTURAL EDUCATION RESOURCES EASILY ACCESSIBLE ONLINE
- The student – the pupil takes centre stage (learning by stealth) – eg Minecraft example of Adam Clarke talking at the MuseumNext conference back in 2014 about engaging with school groups using museum content in a digital environment they were familiar with. The teacher – easy access to trusted, reviewed & engaging content The museum educator – a closer connection to the audience helps ensure content is relevant and used. The school – an easier way to engage directly with museums The museum - Feedback and analytics to track goals for engagement. Justify existence, create funding opportunities Community – successful pupil engagement can help reach out through family and friends References and working notes: https://abcofworkingwithschools.org.uk/getting-started/learning-in-museums/how-can-museums-support-learning/ ‘How important was Thomas Clarkson’s role in the abolition of the slave trade?’ - Archives helping pupils to tackle difficult subjects • Holbrook High School and Suffolk Archives 7 pupils pupils spent time in the archives as part of an after-school history club and were able to look at personal possessions that belonged to Clarkson, including his diary, books from his collections and annotated speeches. We can see that a higher proportion of pupils involved in the project experienced an increase in their marks (43% compared to 27%) or stayed the same (57% compared to 36%). None of the pupils involved in the project experienced a decrease in their marks, compared to 38% of pupils who did not visit the archives and • 5 museums and 1 archive • 9 schools • Up to three assignment marks from 762 pupils, including one linked to a museum visit • 451 pupils completed a questionnaire about their learning experiences immediately after their museum visit. What we found is that based on the teacher’s judgement the majority of pupils (60%) experienced an increase in their level or grade for the museum based assignment when compared to their previous marks. This increase was attributed to the way in which museums enable positive and beneficial learning experiences for young people, supporting different learning styles and independent learning which increases pupil confidence and motivation. https://www2.le.ac.uk/departments/museumstudies/museumsociety/documents/volumes/bower-et-al Making Connections Between Classroom and Museum SEEC educators continuously make connections between everyday objects that are familiar to their students with the less familiar, and sometimes unfamiliar, objects of the Smithsonian’s vast collection that are housed in multiple museums. Anna Hindley works at the Smithsonian’s National Museum of African American History and Culture as an education specialist focusing on audiences under the age of 8 years old. She is investigating this topic in depth as the new museum determines how to best serve young audiences. https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/260726/Cultural_Education_report.pdf A single destination website should be created, bringing all Cultural Education resources together in one easily accessible place online. Top museum resources targeting education: British Museum - http://www.britishmuseum.org/learning/schools_and_teachers/resources.aspx Imperial War Museum – http://www.iwm.org.uk/history/learning-resources V&A - http://www.vam.ac.uk/page/t/teachers-resources/ Ashmolean - http://www.ashmolean.org/education/resources/ NHM – New technological developments mean that it is easier for young people themselves to make a significant contribution to the cultural lives of people of all ages. Access to the digital world makes it more straightforward for young people to engage, create and critique products, events and activities being created both on their own doorsteps and around the world. This technology is developing and changing all the time and it is important that everyone involved in Cultural Education ensures that what young people learn remains relevant to the world around them.
- A summary of some of the problems or challenges we have.
- It is not easy to publish content directly to the education sector through existing digital learning platforms. Museums therefore create their own individual learning resource platforms that vary widely. The IWM is one of the best with filtered and dynamic content linked closely to the collections information. This extends further than the just object pictures and includes a whole variety of material, from archival documents through to video. Jennifer Ross, Digital Learning Manager at IWM 77,974 sessions to Digital Learning Resources (DLR) Estimate 752,293 students would have been taught with an IWM DLRs. From surveys of digital learning resource pages we know that roughly 48% are teachers, and that 67% of the teachers will use these resources in lesson delivery (this means using the resource to teach 3 lessons with same group of 30 students). Therefore we can estimate that the resources reach 752,293 (however this might be much higher.)
- Collections data or content may be used or referenced but the learning resources are often managed separately and then have a life of their own within the learning team. How much of this content that is created as dynamic as the ongoing collections and digitisation efforts that a museum might be going through?
- Teachers always go to TES or Google It will be difficult to break the habit of going to these sites Teachers want a trail for the kids to do some pictures for a prep lesson basic information This is the easy dilemma. We need to make it easy for a teacher to find accurate, relevant and trusted content. If not they will search for their tanks on Google Images and the content creation efforts will be wasted.
- Speaking to a newly qualified teacher about his experience Teacher’s perspective Time is a problem. Finding something from TES or the like may take just as much time as writing something up yourself. TES is a minefield, some of it is really naff” They use different terminology and metadata to museum staff Going to a museum is done at the end of the term when all the learning is already done – the health and safety aspect is a hassle, it can be time consuming, expensive and so is often used as a jolly. Student’s engagement perspective from different levels. The example I give is a science experiment: Best engagement - student does the science experiment themselves. They can feel, smell, hear, see or do something Second level the student watches the teacher perform the science experiment Third level the student watches a video of someone doing the science experiment Fourth level of engagement is when a student looks at pictures of someone doing a science experiment The digital engagement can never replace real world engagement but in a museum context the ability for a student to engage and “do” things in an environment they are comfortable with, may offer an alternative. If a physical visit is possible the museum digital content can only but help in the pre and post visit learning.
- We are exploring different ways of engaging with the education sector. Our current client base includes: Schools Museums, archives & special collections Public Libraries Our challenge is to find out where the need is most. Given that we already have platforms and tools in these 3 areas, it is just a matter of tweaking our current offering to suit. Presently our WeLearn schools platform is targeted at schools or regional school authorities. In a museum context we are investigating whether this same platform can sit on the museum side or connected to other learning platforms. The topics highlighted earlier are important to our strategy: CREATE CULTURAL EDUCATION RESOURCES EASILY ACCESSIBLE ONLINE