Digital Strategy: New Challenges in the Digital Age
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Presentation during the BeMuseum conference of 2019 about digital strategy and how the digital and digital transformation now permeates 'all' aspects of work at heritage institutions. How can we adapt to this change?
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Digital Strategy: New Challenges in the Digital Age
- 1. Digital Strategy Bart Magnus (PACKED / VIAA) Timothy Naessens (LUKAS / VIAA) Katrien Steelandt (Musea Brugge) Rony Vissers (PACKED / VIAA)
- 2. WHO ARE WE? ● Lukas is responsible for the digital image management and the worldwide distribution of photographic reproductions of Flemish museum and heritage collections. ○ see: https://lukasweb.be/nl ● PACKED (Centre of Expertise in Digital Heritage) supports heritage and arts organisations in the creation, sharing and preservation of digital cultural content. ○ see: https://www.packed.be/ ● VIAA (Flemish Institute for Archiving) digitises, stores and discloses audiovisual material together with its partners (cultural heritage organisations, arts organisations, national and regional broadcasters, government institutions). ○ see: https://viaa.be/nl ● in September 2018 Minister of Culture Sven Gatz decided to merge LUKAS / PACKED / VIAA ● Musea Bruges is the umbrella organization of 15 municipal museums. Visual and applied art from the 15th to the 21st century, housed in protected monuments in the historic city center of Bruges.
- 4. DIGITAL TRANSFORMATION? Vision paper: a Flemish cultural policy in the digital age
- 5. DIGITALE TRANSFORMATION? Digitization has a major impact on all social sectors. This also applies to the culture sector. However, digitization often proceeds in phases. In the beginning, digital products and services are primarily a replacement and expansion of analogue products and services, but digital technologies will continue to transform the production, distribution and perception of culture. This vision paper contributes to its realization.
- 6. DIGITAL TRANSFORMATION? Digitization optimizes internal business processes, including administration, ticketing and collection management. In addition, digitization also brings about fundamental changes in the relationship between cultural organizations and their audiences and between cultural organizations themselves. That is why in this vision paper we focus not only on how individual cultural organizations and cultural participants can benefit from digitization, but especially on changes in the digital cultural ecosystem, the operational whole to which multiple organizations and / or IT components contribute and make use of. Cultural organizations and their users are becoming increasingly connected through collaboration and knowledge sharing.
- 7. DIGITAL TRANSFORMATION? Cultural organizations must adapt to the digital reality because it has a major impact on the way users (i.e. cultural participants, but also cultural organizations or organizations from other domains) consume culture and / or work with the content themselves. More and more new actors are responding to the new behavior of culture lovers.
- 8. STARTING POINT 1 Consider, for example, music and video platforms that put pressure on the lending of music and video in the public library. These new platforms have no public mission and mainly follow a commercial logic.
- 9. STARTING POINT 1 You can't ignore it: musical streaming services such as Spotify and Apple Music are conquering the world. And this is not surprising. As a user you can listen to the music that you choose at that moment, without the need for a CD or downloading songs on your device.
- 10. STARTING POINT 1
- 11. STARTING POINT 1 ● past situation: information mainly shared via printed publications and audiovisual media ● current situation: information increasingly shared via the World Wide Web
- 16. STARTING POINT 1 https://koersmuseum.be/nl museum of cycling
- 17. STARTING POINT 1
- 18. STARTING POINT 1 An upcoming amendment Directive on the Re-use of Public Sector Information was the reason triggered discussions about making available the images in an open way and how to do this in the best way possible. As the museums are publicly funded it was argued by them that it had to make the data that was created by the museum (both metadata and the digital content) freely available to anyone without restrictions where possible, or ‘open by default’. Since the images have been produced within the organization, they have already been paid for through taxes and thus belong to the public. This means that open is the standard, unless this is not possible due to still existing copyright protection on a work or if living people are depicted. It was also argued that proceeding in this way would best serve the core mission of the museums: “Our mission is to preserve our collections and contribute to a living and accessible cultural heritage that improves our understanding of both the present day and our origins.”
- 19. STARTING POINT 1 Another reason the museums chose to no longer charge for the digital images was the fact that this service had not been making a substantial profit up until that point. The money gained from the image sales did not cover the costs of the staff handling the requests. The requests for images were taken care of by a curator as there were no resources for a dedicated person to do this. The museums realised that their curators had more important things to do and decided to abandon the sale of images all together. Now, someone is only charged if they request an image of an object that has not yet been digitised. The charge is marginal and covers the cost of digitising the work in question.
- 20. STARTING POINT 1 https://pro.europeana.eu/files/Europeana_Professional/Publications/Making%20Impact%20on%20a%20Small%20Budget% 20-%20LSH%20Case%20Study.pdf Before the Open Image Archive, the collection of LSH was not seen much outside of the institutional walls and Sweden. This radically changed once they decided to make it available under open licensesand make the material easily accessible.
- 21. STARTING POINT 2 ▪ past situation: transfer of cultural content goes in one direction: a cultural product is brought to the culture lover via a stage / intermediary (the cultural organization). ▪ current situation: the transfer is direct and in two directions, the distinction between producer and consumer is blurred.
- 22. STARTING POINT 2
- 27. STARTING POINT 2 Based on the observation that KOERS should be more available online, efforts are being made to expand the presence on Wikipedia. Certain facets of cycling (women's cycling) are totally underexposed. We take the lead in its expansion. Wikipedia is pre-eminently participative (it is the father of internet crowd sourcing) and allows KOERS to access a part of its photo collection online.
- 28. RESULT ● on the web, content from cultural organizations is spread over various websites, and intertwined with other content via hyperlinks ● for culture lovers it is no longer important whether cultural content comes from heritage organization, arts organization or another culture lover> what counts is that he can find and reuse them online ● existing cultural content is also transformed into new content
- 39. BUT... ● despite goodwill, it remains a difficult task for many museums to successfully shape the digital transformation ● they use insufficiently opportunities that digitization offers ● they do not respond enough to the change (s) in the playing field in which cultural content, the organizations that create or offer it and the cultural participants move in new ways
- 40. DIGITAL MATURITY SELF- ASSESSMENT Bart Magnus (PACKED)
- 41. WHAT? ● www.digitalematuriteit.be ● Online since Jan 2019 ● Tool for cultural organisations to ○ self-assess their level of digital maturity; ○ compare with similar organisations ● Tool for the Flemish government to monitor their policy concerning digital culture
- 42. DIGITAL MATURITY? 1. How do you deal with digital evolutions in your organisational strategy? Do you think strategically about digital aspects within your organisation? 2. How do you use digital applications to improve the interaction with your target groups? 3. Can digital products or services provide added value within your organisation? How do you deal with this today? 4. Digital maturity is not only a matter of tools, but also of people. Do you succeed in getting the right capacities in-house to achieve your objectives? 5. How do you organise the digital processes within your organisation?
- 43. DIGITAL MATURITY … is not: doing everything digitally to the maximum but: dealing with digital evolutions in a well-considered way and work with them where it is useful.
- 44. CONFIDENTIALITY? ● third parties (including the Flemish government) only have access to anonymous data by default: name, subcategory in the subsector of the cultural field and the noted explanations will be removed. ● Choose which data you want to share with others (e.g. fellow organisations, the Flemish government, researchers). ● For additional information see the privacy disclaimer (https://digitalematuriteit.be/privacy)
- 45. REALISATION ● Phase 1 ○ study of existing tools ○ format design ○ feedback groups with representatives from the cultural sector ● Phase 2: development ○ Corecrew (Ghent) ● Phase 3: feedback, final adjustments ● Launch: Culture Forum January 2019
- 46. RESULT
- 58. REACH JANUARY - SEPTEMBER ● Users: ○ 42 active (external) accounts ○ 115 completed sessions (19% registered users, 81% anonymous) ○ 247 partly completed sessions (8% registered users, 92% anonymous) ● Top categories of registered users: 1) Cultural heritage (collection management) 2) Cultural heritage (services) 3) Socio-cultural organisations ● Website visits: ○ 1,324 sessions by 964 users
- 60. TRANSFORMATION? ● Where do I start? ● Resources? Support base? ● How to transform a process without destabilizing the functioning of the organization?
- 61. TRANSFORMATION? beeld beheer- systeem toegang collectie- beheer collectie databank bibliotheek beheer- systeem e-depot linked open data repository ‘virtueel museum’ expo website tourist tours wikidata document beheer- systeem 2014 2014 2016 2016 2017 2017 2017
- 62. TRANSFORMATION?
- 63. DIGITAL STRATEGY ● define goal/horizon for the long term ● communicate clearly "how" and "why" digital means are used ● align planning with the resources of the organization
- 64. DIGITAL STRATEGY
- 65. DIGITAL TECHNOLOGY “The Science Museum Group’s mission is to “engage people in a dialogue about the history, present and future of human ingenuity”. Increasingly, achieving this mission is dependent on making digital a dimension of everything the Group does. (Science Museum Group Digital Strategy 2015-17 https://group.sciencemuseum.org.uk/policies-and-reports/digital-strategy/)
- 66. DIGITAL TECHNOLOGY Through the development of a holistic digital proposition there is an opportunity to use the digital to deliver Tate’s mission to promote public understanding and enjoyment of British, modern and contemporary art. To achieve this, digital will need to become a dimension of everything that Tate does. (Tate Digital Strategy 2013-15 http://www.tate.org.uk/research/publications/tate-papers/19/tate-digital-strategy-2013-15- digital-as-a-dimension-of-everything)
- 67. DIGITAL TECHNOLOGY “The future of the museum may be rooted in the buildings they occupy but it will address audiences across the world – a place where people across the world will have a conversation. Those institutions which take up this notion fastest and furthest will be the ones which have the authority in the future.” (Tate Digital Strategy 2013-15 - Quote Sir Nicholas Serota 2009 http://www.tate.org.uk/research/publications/tate-papers/19/tate-digital-strategy-2013-15- digital-as-a-dimension-of-everything)
- 68. TEMPLATE DIGITAL STRATEGY ● vision > WHY? ● digital principles > HOW? ○ experiences ○ approach ● goals > WHAT? ○ content ○ digital community ○ revenue ○ organisation ● analytics and key performance indicators
- 69. DIGITAL STRATEGY - PRINCIPLES Tate’s audiences will have digital experiences that: ● increase their enjoyment and understanding of art ● provoke their thoughts and invite them to participate ● promote the gallery programme ● provide them with easy access to information ● entice them to explore deeper content ● encourage them to purchase products, join Tate and make donations ● present an elegant and functional interface whatever their device ● take place on the platforms and websites they use ● minimise any obstacles they may encounter To achieve this, we will take an approach that is: ● audience-centred and insight-driven ● constantly evaluated and enhanced ● well designed and architected ● distributed across multiple platforms ● open and sharable ● sustainable and scalable ● centrally governed and devolved across the organisation (Tate Digital Strategy 2013–15)
- 70. DIGITALE STRATEGY - GOALS ● content ○ digitisation of the collection ○ digital research publications ○ digital gallery experiences ○ digital editorial content ● (digital) community ○ blogging ○ social media and third-party platforms ○ learning and social collections ● revenue ○ ticketing ○ digital products and ecommerce ○ multimedia tours to visitors’ devices ○ digital fundraising ○ customer relationship management ● organisation ○ staff skills and engagement ○ new ways of working ○ governance and leadership (Tate Digital Strategy 2013–15)
- 72. Lukas - Art in Flanders Timothy Naessens (LUKAS)
- 73. Lukas - Art in Flanders
- 74. History and evolution of the business model ● started in 2003 at the very beginning of the ‘digital revolution’ ○ support Museums in all aspects of image management ○ digitising analogue collections ○ worldwide distribution via Art Platform
- 75. Digitising in 2003: ektachromes
- 76. 2006 First Digital photography
- 77. Challenges in the digital approach ● cost of photography ● hosting ● organising files ● metadata ● sustainable preservation...
- 78. Current approach ● Stitched multiple shots to very large files ● Media Asset Management system ● API’s to link data and images ● AI and metadata
- 80. Different techniques ● Cooperation with Google: gigapixel camera ● Use of mobile scanners
- 83. Acces and distribution of the digital collections: first approach ● business model : profit ● focus on professional reuse ● worldwide acces to hires images of multiple collections ● platform as a ‘catalogue’ ● images protected from download
- 84. Current approach ● focus on large public ● open content: free downloads ○ average: + 1000 downloads/month ● over 60 collections represented ● publication on wikimedia ● cooperation with Google
- 86. Future of the service model ● VIAA - Packed - Lukas ● supporting collections for (specialised) digitising projects ● maximise re-use ● focus on worldwide distribution
- 87. DIGITAL STRATEGY AT MUSEUMS BRUGES Katrien Steelandt (Museums Bruges)
- 90. VALUES Musea Brugge welcomes you with open arms. 01 Musea Brugge presents quality. 02 Musea Brugge shows respect. 03 Musea Brugge remains an inspiration. 04
- 93. A digital strategy for the renewed organisationstructure One executive leadership team Department of Visitor Services Department of Administration Department of Collections Department of Public Affairs Department of Infrastructure and Safety
- 96. Department of Collections 1. Sustainable digitization, storage and exchange of collections 2. With (a little) help of Packed, VKC, VIAA or other service organizations for the sustainable digitization, preservation and exchange of its collections 3. WHAT is Musea Brugge digitizing 4. HOW does Musea Brugge DIGITALIZE 5. HOW to SAVE content in a sustainable way? 6. HOW to UNLOCK digital content?
- 97. 1 sustainable digitization, storage and exchange of the collection Indicators: • Step-by-step plan for sustainable digitization, storage and disclosure is operational and is adjusted annually Success factors: • The digital content manager closely monitors this plan, makes adjustments where necessary and regularly discusses this with the e- culture coordinator and the collection department head • Museums Bruges aligns its step-by-step plan with the Cluster Culture and consults with the digital applications coordinator and Heritage Cell Bruges at cluster level
- 98. 2 With (a little) help of Packed, VKC, VIAA or other service organizations for the sustainable digitization, preservation and exchange of its collection Indicators: • Musea Brugge regularly participates actively in consultations with Packed, VKC or other centers of expertise • The data hub developed by VKC is actively used to open up and share the Bruges Museums collections Success factors: • The data hub developed by the VKC is user-friendly and active • The digital content manager coordinator closely follows the trends and technologies • The digital content manager works together with colleagues in Bruges and Flanders • There is open communication between Musea Brugge, Packed, VKC and other centers of expertise. Expectations with regard to each other are clear and realistic.
- 99. 3. WHAT is Musea Brugge digitizing The entire collection is digitally enriched Indicators: • Existing records are supplemented with basic information • New records are created • Existing records are enriched with extra info • Digital born records also become part of the collection • The collection policy plan provides an estimate of the number of records to be enriched per sub-collection Success factors: • A model for describing records is followed • Standards are implemented • Content enrichment is a task for registrators, collection managers, researchers and public workers, under the coordination of the digital content coordinator
- 100. 4. HOW Museums Bruges DIGITALIZES Indicators: • Appointments with Lukas Art Flanders, City Photographer, external photographers or own employees about who can digitize which objects / content. • Quantity of new digital records per year Success factors: • The CEST guidelines forms the basis for the various digitization processes • Procedures are cast in scripts and followed up for digitization • The collection policy plan sets targets for achieving the number of objects to be digitized and enriching content. These are evaluated and adjusted annually. • The digital content coordinator makes this a priority in this operation • The digital applications coordinator of the Cluster Culture is closely involved in the development of the standards and the establishment of the procedures and coordinates these with the cluster
- 101. Department of Public Affairs 1. Communication & marketing 1.1. Vision 1.2. Museum website 1.3. Social media 1.4. CRM 2. Experience
- 102. One executive leadership team Department of Visitor Services Department of Administration 1. stimulates e-culture throughout the organization 2. creates personnel space and resources to make digital leaps 3. has built in structural and project financing for digital applications 4. motivates and encourages employees
- 104. Digital office COORDINATOR E-CULTURE DIGICOACH DIGITAL COMMUNITY MANAGER DIGITAL CONTENT MANAGER
- 105. leadership team engages people, space and resources to make digital leaps Indicators: • an e-culture coordinator who streamlines all digital campaigns, initiates new applications and encourages employees to become as digital as possible. • a digital content manager who can closely monitor all actions related to digitization, registration and sustainable storage and disclosure of museum data. • a digital community manager with expertise in the field of digital communication, marketing, social media and specific communication tools to make Musea Brugge also virtually a strong brand. • a digicoach who can educate all employees and offer support for the management of museum digital applications and for the implementation, follow-up and monitoring of various digital actions
- 106. Success factors: • These four well-defined digital profiles are active within Musea Brugge • These four employees work closely with each other and with the different cells of Musea Brugge • The e-culture coordinator draws up an action plan each year • The action plans are evaluated and adjusted annually • The e-culture coordinator receives support from the digital applications coordinator of the Cluster Culture
- 111. QUESTIONS? Timothy Naesens: timothy.naessens@viaa.be Bart Magnus: bart@packed.be Katrien Steelandt: katrien.steelandt@brugge.be Rony Vissers: rony@packed.be