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![Mission
• Mission matters more than people think!
• Two commons types of museum Mission Statement
– “We are going to change the world,” or
– “We will collect and preserve the history and heritage of [insert name
of town] and interpret it for the benefit of the public to support
education”
• It doesn’t really matter what the words are. It matters whether you
believe them, whether they inspire you and whether you are proud to say
it out loud](https://image.slidesharecdn.com/collectionstrustexeterseminar-150323095459-conversion-gate01/85/Collections-Trust-Seminar-Exeter-44-320.jpg)
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Collections Trust Seminar - Exeter
The Collections Trust seminar introduces attendees to the work of the Collections Trust and excellence in collections management. It covers understanding audiences, managing change in museums, and introduces the Excellence in Collections management model and standards. Attendees are encouraged to participate actively and network. Resources provided include information sheets, slides, and feedback forms.
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Collections Trust Seminar - Exeter
- 1. Collections Trust Seminar Exeter,February 2015 Wifi: RAMMGuest Password:1723 Hashtag: #ctskills
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- 3. I’m Nick Poole CEOof the Collections Trust since 2004, involved in the development of national standards & funding programmes for museums.
- 4. Getting started • Pleasedo: • Be an active participant • Ask questions • Respect information shared in confidence • Take the opportunity to network!
- 5. Resources • In yourdelegate pack, you have: • Copies of these slides • Information sheets about today’s resources • Information about further Collections Trust events • A Feedback & Evaluation Form • Today’s slides can be downloaded from www.slideshare.net/collectionstrust • All other resources available from www.collectionstrust.org.uk
- 6. Objectives for today •Our objectives are to: • Introduce you to the work of the Collections Trust • Explore how collections management supports the needs of audiences • Introduce the Excellence in Collections Management model • Highlight our tools, resources and services to support your work • Please write down 2-3 things that you want to get out of today (we’ll refer back to these at the end of the day)
- 7. A brief introductionto the Collections Trust!
- 8. The Collections Trustis... ...the professional association for people who work in Collections Management
- 9. Established 1977 • Topromote the education of the public by the development of museums and similar organisations by all appropriate methods; • To develop, promote, maintain and improve standards of collections and information management in museums, art galleries, heritage organisations and other collections institutions; • To provide services and resources which improve the standards and methods of collections management and use.
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- 11. Our work • Publishand make available standards, reports and resources • Run events and training • Support digital development • Represent the sector and influence policy makers • Help you network and share knowledge
- 12. Our programmes • Wefocus on issues that are relevant to Collections Management: • Documentation • Digital development • Systems development (DAMS, CMS, Web, Mobile) • Governance • Security • Insurance • Pest Management • Copyright & IPR • Cultural property • Participation & engagement
- 13. Special programmes • Recentlywe have developed resources, guidelines, factsheets and interactives around a series of special programmes: – Security www.collectionstrust.org.uk/security – Energy efficiency www.collectionstrust.org.uk/energy-efficiency – Pests! www.collectionstrust.org.uk/pest-management – Insurance www.collectionstrust.org.uk/insurance – Participation www.collectionstrust.org.uk/participation – Going Digital www.collectionstrust.org.uk/going-digital – Copyright & licensing www.collectionstrust.org.uk/copyright-and-licensing
- 14. Going Digital • Newthree year ‘back to basics’ programme on IT in museums • Covering: – Basic IT audit and planning – Photography and scanning – Buying equipment – Copyright – Collections Management Systems – Digital Asset Management Systems – Sharing collections online
- 15. Going Digital • Freetools and resources including: – IT Audit toolkit – Digital Strategy interactive – Beginners Guide to Digitisation – How-to copyright factsheets • www.collectionstrust.org.uk/going-digital
- 16. Copyright and licensing Weprovide free resources to help museums with copyright issues and we’re addressing how recent legal reforms to copyright affect museums. • Free resources at www.collectionstrust.org.uk/copyright-and-licensing • A Copyright Seminar with expert Naomi Korn (18 February 2015, London) www.collectionstrust.org.uk/copyright-seminar • Copyright: A Practical Guide - updated edition available beginning of 2015 www.collectionstrust.org.uk/shop
- 17. The Collections Trustwebsite • Re-launched in July 2014 • Hundreds of practical, free resources • The latest news from the sector • Blog posts • Online shop (forms and registers, publications, eBooks) • Comprehensive listing of sector events www.collectionstrust.org.uk/upcoming- events • Register to receive a fortnightly e-newsletter
- 19. Practical Guides • Simplepractical guides to key areas of Collections Management: • Titles: – Collections Management: A Practical Guide – Documentation: A Practical Guide – Copyright: A Practical Guide – Governance & Collections: A Practical Guide – Integrated Pest Management: A Practical Guide • Available from www.collectionstrust.org.uk/shop (RRP £24.99 and ebook £20.00)
- 20. Forms and registers •Leading supplier of museum forms and registers – Object Entry Forms – Object Cards – Exit Forms – Simple Catalogue Cards – Object Movement Tickets – Transfer of Title Forms – Accession Registers • Available from www.collectionstrust.org.uk/shop
- 21. Keep in touch •We offer several ways of keeping in touch with our work and with each other – Collections Management LinkedIn community (8,200 members) – Fortnightly email newsletter – www.twitter.com/collectiontrust – www.facebook.com/collectionstrust – www.slideshare.net/collectionstrust
- 22. Update from theRoyal Albert Memorial Museum Julien Parsons, Senior Collections Officer
- 23. Update from theArts Council England Isabel Wilson, Senior Manager Quality & Standards, Arts Council England
- 24. INTRODUCTION Aims and objectivesfrom today’s seminar
- 25. What kind of museum professionalare you?
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- 27. Objects Experiences Facts Narratives “Ourfirst duties are to collect, conserve and display material culture, to protect the nation’s treasures and to showcase the high points of human creativity”
- 28. Objects Experiences Facts Stories “Ourfirst duty is to create an open, welcoming environment in which people can come and enjoy the experience of beautiful, inspiring things”
- 29. Objects Experiences Facts Stories “Itis not the objects themselves, but the connections between them and the stories they can tell. Our duty is to weave stories and objects together to help people understand the world around them”
- 30. Objects Experiences Facts Narratives “Ourfirst duty is to provide an authoritative record of the development of the natural and man-made world. We must collect and preserve type specimens and objects based on our authoritative and scientific knowledge.”
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- 33. Aims for thissession • Discuss the relationship between your museum and its audience • Identify what we know about what people want from collections • Discuss ways of understanding audience needs and expectations • Discuss the idea of a ‘visitor centred design’ approach in museums
- 34. VIDEO: Here comethe millennials...
- 35. The ‘user journey’... ...describeshow people discover your museum, what they do while they’re there and how you maintain the connection after they leave.
- 36. Pre-visit (discovery) Visit (engagement) Post-visit (relationship) The key challengefor collections is to find ways of enhancing and extending the user journey so that people are: • More likely to find your museum • More likely to visit • More likely to develop a lasting relationship with the museum afterwards
- 37. Pre-visit (discovery) Visit (engagement) Post-visit (relationship) ‘Snackable’ content –quick, shareable, interesting, quirky & fun, shared as widely as possible with as many people as possible
- 38. Pre-visit (discovery) Visit (engagement) Post-visit (relationship) ‘Snackable’ content –quick, shareable, interesting, quirky & fun, shared as widely as possible with as many people as possible Location-specific (iBeacon!) content that is relevant – enabling people to explore, discover, socialise and promote to their networks
- 39. Pre-visit (discovery) Visit (engagement) Post-visit (relationship) ‘Snackable’ content –quick, shareable, interesting, quirky & fun, shared as widely as possible with as many people as possible Location-specific (iBeacon!) content that is relevant – enabling people to explore, discover, socialise and promote to their networks Deep, relevant, personal and engaging stories, targeted events and experiences, fresh ideas and offers
- 40. Discussion • How doesyour museum capture knowledge about your visitors? • How can you use this knowledge to inform planning? • What role can the public play in managing & developing your collection? • Are most of your visitors ‘lean-back’ (they want to come and enjoy well put- together, thoughtful displays) or ‘lean-forward’ (they want to be active participants, get stuck in and be involved in the work of the museum)?
- 41. SESSION TWO Learning &change in your museum
- 42. We need tokeep moving The financial model for museums is changing, our role is changing & peoples expectations of your museum (online and off) are changing
- 43. Three models ofchange • Internal bottom-up change – a growing dissatisfaction with the operation and/or culture of your museum eventually tips over into a will to change things and the energy to see changes through • Internal top-down change – a new manager or Board of Trustees set a new direction and drive change through restructuring and re-defining your mission • External – an external trigger, such as a loss of funding, change of focus, merger or other external factor forces the organisation to change • Museums are not inherently conservative, but most museums are structured around the idea of managed and purposeful change.
- 44. Mission • Mission mattersmore than people think! • Two commons types of museum Mission Statement – “We are going to change the world,” or – “We will collect and preserve the history and heritage of [insert name of town] and interpret it for the benefit of the public to support education” • It doesn’t really matter what the words are. It matters whether you believe them, whether they inspire you and whether you are proud to say it out loud
- 45. Brand • Your museum’s‘brand’ is the expression of who you are, what you care about, how your museum feels about itself and the relationship you want to have with your audience • The brand of your museum is what people identify with, volunteer to be part of, have in their mind when planning a visit • Every member of staff should be a champion for the brand – if its controlled through the marketing team, you’ll never achieve reach and scale • What is your museum’s brand proposition?
- 46. A ‘responsive’ museum... ...isdesigned around the needs, expectations, behaviours and abilities of your visitors
- 47. The ‘traditional’ museum... Museumssometimes operate in silos Education Management Collections Retail IT
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- 49. Culture change Performance culture Create a climatefor change Engage staff Train & reward Keep track Create a ‘team’ mentality Lead by example
- 50. Metrics • How doyou measure the value and impact of what you do? • What kind of ‘value culture’ do you have? – None – Count what we can count – Visitor numbers – Measure visitor impact – Measure performance – Numbers for advocacy – Planning with data • Do you use your numbers for internal (planning) use or external advocacy?
- 51. Discussion • What arethe main changes impacting on your museum? • What are the drivers for making changes (eg. survival, doing things better)? • Is the need for change understood across the whole museum? • What are the barriers that prevent things from moving forward?
- 52. SESSION THREE Introducing Excellencein Collections Management
- 53. Aims for thissession • Understand the legal & professional context for collections management • Introduce the Excellence in Collections model
- 54. Collections Management • “CollectionsManagement” is defined as: “The strategies, policies, processes and procedures relating to a collection’s development, information, access and care.” Collections Trust/BSI Code of Practice for Collections Management (BSI PAS 197:2009)
- 55. Key elements • CollectionsManagement is: • Integrated across all aspects of running a museum (front of house and behind the scenes) • About the management of physical, digital and intellectual material • Never ‘finished’ – an ongoing process not a finite project • Intended to promote audience engagement and participation • Designed to achieve public trust and accountability through professional, transparent practice
- 56. ‘Strategic Collections Management’ UsersFunders Politicians
- 57. ‘Strategic Collections Management’ UsersFunders Politicians Organisational Mission
- 58. ‘Strategic Collections Management’ UsersFunders Politicians Organisational Mission Collecting Policy
- 59. ‘Strategic Collections Management’ UsersFunders Politicians Organisational Mission Collecting Policy UseDevelopLearnCare
- 60. ‘Strategic Collections Management’ UsersFunders Politicians Organisational Mission Collecting Policy UseDevelopLearnCare InformationProceduresSystemsPeople
- 61. ‘Strategic Collections Management’ UsersFunders Politicians Organisational Mission Collecting Policy UseDevelopLearnCare InformationProceduresSystemsPeople Evaluation & improvement
- 62. ‘Strategic Collections Management’ UsersFunders Politicians Organisational Mission Collecting Policy UseDevelopLearnCare InformationProceduresSystemsPeople Evaluation & improvement Rich online and offline experiences for users
- 63. Key elements • ACollections Management Framework is: “A set of components that provide the foundations and organizational arrangements for designing, implementing, monitoring, reviewing and improving collections management processes throughout the organization to support the achievement of its mission.”
- 64. Key elements • CollectionsManagement involves a set of technical practices: • Management • Communications • Documentation • Digitisation • Copyright • Risk Management • Integrated Pest Management • Security & access control • Environmental Management (light, UV, temperature, RH) • Preventive conservation • Transport & packaging etc.
- 65. LAW STATUTE ETHICAL CODES PROFESSIONAL STANDARDS GOVERNANCE CORPORATECULTURE POLICIES & PROCEDURES DAILY TASKS
- 66. LAW STATUTE ETHICAL CODES PROFESSIONAL STANDARDS GOVERNANCE CORPORATECULTURE POLICIES & PROCEDURES DAILY TASKS MUSEUM PROFESSIONAL LEGAL
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- 83. Key points • Goodcollections management is the foundation of great museum experiences • Having a well-managed foundation promotes flexibility rather than constraining it • Any kind of development – audience participation, income generation, brand development, outreach or digital – depends on having the basics of good collections practice in place • Collections management drives both accountability and creativity
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- 85. Aims for thissession • Introduce professional standards for Collections Management • Introduce the Collections Management Standards Toolkit
- 86. LAW STATUTE ETHICAL CODES PROFESSIONAL STANDARDS GOVERNANCE CORPORATECULTURE POLICIES & PROCEDURES DAILY TASKS MUSEUM PROFESSIONAL LEGAL
- 87. LAW STATUTE ETHICAL CODES PROFESSIONAL STANDARDS GOVERNANCE CORPORATE CULTURE POLICIES& PROCEDURES DAILY TASKS MUSEUM PROFESSIONAL LEGAL
- 88. Legal frameworks • Museums& Libraries Act • Equalities Act • Charities Act • Cultural Property Law • Copyright Law • Civil rights & protections
- 89. Codes of Ethics •MA Code of Ethics for Museums • ICOM Code of Ethics • Ethical principles associated with Charitable Status
- 90. Professional Standards • MuseumsAccreditation Scheme • SPECTRUM Standard • BSI Publicly Available Specification 197 Code of Practice for Collections Management • BSI Publicly Available Specification 198 Environmental Management • GIS Guidelines
- 91. Standards Toolkit • Producedby Collections Trust with support from Arts Council England • http://www.collectionstrust.org.uk/standards-toolkit/introduction • Structured around four sections: – Collections Development standards – Collections Information standards – Collections Access standards – Collections Care & Conservation standards
- 93. Introducing SPECTRUM! International industry standardfor Collections Management
- 94. SPECTRUM Facts &Figures • 25,000 licensed users • 40 countries • 8 languages • 17 SPECTRUM Partner systems • Adoption as a national quality standard in 4 countries • Interest from 5 new territories
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- 99. Uses of SPECTRUM •Not a mandatory standard • A ‘recipe book’ for developing or reviewing practices in your museum • Useful for the development of your Procedural Manual • Promotes accountability & good practice • Primary procedures are a requirement of Accreditation
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- 101. Aims for thissession • Introduce the Collections Management Competency Framework • Discuss skills development and CPD for your work
- 102. Collections Management Competency Framework Definingthe skills and competencies of the professional & volunteer collections management workforce
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- 105. Why a CompetencyFramework? • Informing the teaching and training of core collections management skills and competencies • Promoting investment in CPD • Raising awareness of the value and impact of CM skills on the wider delivery of museum services • Advocating for investment in CM competencies • Providing a structure to engage with other industry partners eg. CC Skills, MA, CILIP
- 106. Professional development • Ensuringthat museums have access to the Collections Management skills & competencies they need: – Teaching on University Museum Studies courses – Providing a Competency Framework for employers – Delivering a Collections Management Traineeships programme – Promoting practical apprenticeships – Free Collections Trust Seminars across England
- 107. Traineeships programme • Runsbetween October 2014 & September 2015 • Cohort of 20 trainees • Combination of practical workplace-based training, CPD, mentoring and peer support • Aimed at enabling new entrants to the profession to build their collections management skills and confidence • www.collectionstrust.org.uk/traineeships
- 108. Key questions • Howdo you develop your skills in Collections Management? • Where do you get formal training and advice? • Does your museum develop Collections-related skills across different areas/departments? • What structure is in place for CPD or ongoing development?
- 109. SESSION SIX Rick Lawrence,Digital Media Officer, Royal Albert Memorial Museum & Art Gallery
- 110. SESSION SEVEN Collections Managementand Museum Accreditation
- 111. Aims for thissession • Introduce the role of Collections & Collections Management in Museum Accreditation • Understand the relationship between SPECTRUM & Accreditation • Identify sources of support & guidance
- 113. Guiding principle Collections arecentral to the function of a museum. The management of the collections within an Accredited museum is consistent with the statement of purpose, policies and strategic vision for the organisation. To do this effectively, and to allow for regular review and improvement, a coherent set of policy statements, plans and procedures should be put in place – a collections management framework. This will address collections development, information, access, care and conservation.
- 114. Accreditation Requirements • 2.1Satisfactory arrangements for ownership of collections • 2.2 Collections Development • 2.3 Documentation policy • 2.4 Care & conservation policy • 2.5 Documentation plan • 2.6 Care & conservation plan • 2.7 Documentation procedures • 2.7 Expert assessment of security arrangements
- 115. ‘Primary’ procedures Requirement 2.7:“The primary SPECTRUM procedures must be in place in the form of a documentation procedural manual that is available for inspection on request.” • Object entry • Acquisition • Location and movement control • Marking and/or labelling • Cataloguing • Object exit • Loans in • Loans out
- 116. Accreditation support We can •Publish standards and guidelines • Share case studies • Work with partner museums in the regions • Share questions & answers with our networks • Provide statements of support We can’t • Answer questions directly over the phone or by email
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- 118. SESSION EIGHT Developing a‘Digital Strategy’
- 119. Aims for thissession • Explore the role of ‘digital’ in engaging audiences with collections • Identify key trends in ‘going digital’ • Introduce guidance and resources for museums wanting to make better use of technology
- 120. Digital Design Principles •Start with needs* • Do less • Design with data • Do the hard work to make it simple • Iterate. Then iterate again • Build for inclusion • Understand context • Build digital services, not websites • Be consistent, not uniform • Make things open – it makes things better • www.gov.uk/design-principles (* Other people’s needs, that is...)
- 121. Tate Digital Strategy •Implicitly linked to the Strategic Plan • ‘Digital as a Dimension of Everything’ • Aligning the development of: • Content • IT infrastructure • Social media • Publishing & distribution • Retail & income generation
- 122. HRP Strategic Planning •No separate ‘Digital Strategy’ • 4 principles: • Guardianship • Discovery • Showmanship • Independence • Digital underpins and supports the achievement of these principles, rather than acting as a standalone priority
- 123. HRP Strategic Planning VISITORJOURNEY 7 ‘personas’ ANALYTICS & CUSTOMER DATA ASSET MANAGEMENT IT INFRASTRUCTURE CHANGE PROGRAMME
- 124. Digital Benchmarks • Asimple diagnostic tool • Mapping progress • Celebrating success • Planning development • An integrated approach
- 126. Digital Benchmark “RangeStatements” Strategy Level Description 0 The organisation has no strategic plan or statement of mission or purpose * 1 The organisation has a strategic plan or mission which does not reference engagement through technology 2 The organisation has a strategic plan, which includes projects and programmes, some of which make use of technology. Digital is not fully integrated into the strategy, which is not regularly reviewed. 3 The organisation has a strategic plan, which includes projects and programmes, some of which make use of technology. Digital is integrated into the strategy, which is regularly reviewed. 4 The organisation has a strategic plan/mission in place which references the use of digital technologies to support core delivery, or it has a separate (but connected) digital strategy in place. There is at least one digital champion within the senior management of the organisation. The strategic plan is regularly reviewed and updated. 5 The organisation has a strategic plan/mission in place which integrates the use of digital technologies to support core delivery. The digital elements of the plan are owned and championed at a senior (Board & management) level and supported by appropriate budgets. Digital technologies are embedded across all teams/departments of the organisation. Digital delivery and engagement through technology are embedded within the organisation’s performance framework. The strategic plan is regularly reviewed and updated.
- 127. Mid-sized regional museum 0 1 2 3 4 5 STRATEGY PEOPLE SYSTEMS DIGITISATION CONTENTDELIVERY ANALYTICS ENGAGEMENT REVENUE
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- 130. Content-based marketing • From‘sales’ to ‘add value’ • People are drawn to platforms and content which add value for them in their daily lives • 3 connected strategies: – ‘Snackable’ content – Content-as-a-service (to support visits, education & engagement) – ‘Vertical’ or niche content
- 131. Collections online • Havingthings online does not automatically lead to access • It is a significant investment of time and effort • The 90/8/2 rule: – 90% of your content acts as marketing for the museum – 8% might make money if you invested heavily in it – 2% of most collections will be a solid, bankable revenue stream
- 132. What people wantfrom online collections… CONTENT METADATA A BIT A LOT
- 133. CONTENT METADATA A BIT ALOT FUN What people want from online collections…
- 134. CONTENT METADATA A BIT ALOT FUN RESEARCH What people want from online collections…
- 135. CONTENT METADATA A BIT ALOT FUN RESEARCH LEARNING OUTREACH What people want from online collections…
- 136. 136 CONTENT METADATA A BIT ALOT FUN RESEARCH LEARNING DATA MINING COLLECTIONS MANAGEMENT AGGREGATION OUTREACH What people want from online collections…
- 137. 137 CONTENT METADATA A BIT ALOT FUN RESEARCH LEARNING DATA MINING COLLECTIONS MANAGEMENT AGGREGATION OUTREACH Digitize relatively few things & spend your money on quality and context What people want from online collections…
- 138. CONTENT METADATA A BIT ALOT FUN RESEARCH LEARNING DATA MINING COLLECTIONS MANAGEMENT AGGREGATION OUTREACH Digitize relatively few things & spend your money on quality and context Digitize lots of things, use standards and don’t worry too much about promotion What people want from online collections…
- 139. Defining terms: reuse •Describes a wide spectrum of activities and applications of digital cultural content undertaken by 3rd parties
- 140. Degrees of ‘open’ •Attitudes and approaches to ‘open’ reuse of museum content exist along a sliding scale: ‘Radically’ open Fully commercial
- 141. Degrees of ‘open’ •Attitudes and approaches to ‘open’ reuse of museum content exist along a sliding scale: ‘Radically’ open Fully commercial Toe in the water
- 142. Degrees of ‘open’ •Attitudes and approaches to ‘open’ reuse of museum content exist along a sliding scale: ‘Radically’ open Fully commercial Toe in the water Mission driven
- 143. Degrees of ‘open’ •Attitudes and approaches to ‘open’ reuse of museum content exist along a sliding scale: ‘Radically’ open Fully commercial Toe in the water Mission driven Steady state
- 144. Degrees of ‘open’ •Attitudes and approaches to ‘open’ reuse of museum content exist along a sliding scale: ‘Radically’ open Fully commercial Thinking about it Toe in the water Mission driven Steady state
- 145. Perceived benefits ofopen • Perceived benefits for the museum include: – Improved public awareness of content (PR, reputation & brand equity) – Improved discoverability of content (re-use & promotional value) – Improved opportunities for audience participation (audience development) – Secondary improvements in quality of content (internal use value) • The jury’s still out – compelling evidence of significantly higher traffic through eg. Wikipedia, but we tend to lack the metrics to assess impact of referrals on core business
- 146. Perceived benefits ofopen • Perceived broader/societal benefits include: – Stimulating innovation & creativity (economic value) – Increased educational use (delivering on mission) – Increased use for research/scholarship (utility & economic value) – Inter-cultural dialogue and understanding (utility value) • Quantification of these wider benefits tends to attribute to intermediary/3rd- party platforms, hence not always acknowledged in calculus of ROI
- 147. Practical steps to‘going open’ 1. Define your terms/read around the subject 2. Identify a suitable collection or sub-collection 3. Choose an appropriate license for your aims 4. Prepare your data for sharing 5. Write a blog 6. Add your data to an online repository 7. Track and evaluate impact 8. Share good news with colleagues/management www.p2pu.org/he/groups/open-glam
- 148. The investment gap •There is a critical lack of investment in content generation, staff capacity, infrastructure, enrichment, delivery platforms, marketing and promotion and organisational development to support income generation • An increasing number of museums are adopting an ‘open by default’ strategy because they lack the capacity effectively to monetise the digital content • Lack of cost-recovery results in declining reinvestment in further activity • A lack of clear and coherent policy results in a culture of case-by-case decision- making, inconsistency and a lack of clarity about the business case for reinvestment
- 149. The future ofDocumentation?
- 150. Learning to COPE Developingpractical steps to ensure that your collections and systems are fit-for- purpose to support your museum
- 151. ‘Create Once, PublishEverywhere’ • If collections and collections-based information are to play their part in enhancing and extending the visitor experience, they need to be discoverable and usable outside the museum and its website • ‘COPE’ is the Collections Trust’s strategy for developing collections information and collections-related content that supports: • Collections care • Collections discovery & re-use • Learning and intepretation • Visitor engagement
- 152. COPE in practice,from this... COLLECTIONS DOCUMENTATION DIGITAL ASSET MANAGEMENT INFORMATION / RECORDS SYSTEMS OF RECORD SYSTEMS OF ENGAGEMENT USER CHANNELS & PLATFORMSBYOD Museum website Gallery interactives Social media Aggregators
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- 154. Additional resources • CollectionsTrust Digital Benchmarks Tool http://www.collectionstrust.org.uk/digital/digital-benchmarks-for-the-culture-sector • Going Digital resources, toolkits, simple guides and glossary: http://www.collectionstrust.org.uk/going-digital • Guidance on developing digital strategies http://www.collectionstrust.org.uk/digital-strategy • Free Simple Guide to Digitisation http://www.collectionstrust.org.uk/digitisation
- 155. Wrap up &conclusions
- 156. Wrap up &conclusions • Great collections management is at the heart of every successful museum • You can help your museum be more resilient and adapt to the current and future needs and expectations of visitors • Collections management can help make your museum more sustainable, both by finding opportunities to reduce costs and opening up primary income and secondary revenue through audience engagement • We need to provide evidence of the value and impact of collections management to secure reinvestment
- 157. Keep in touch •We offer several ways of keeping in touch with our work and with each other – Collections Management LinkedIn community (8,200 members) – Fortnightly email newsletter – www.twitter.com/collectiontrust – www.facebook.com/collectionstrust – www.slideshare.net/collectionstrust
- 158. Thank you foryour time and participation!