Digital Technology and Cultural Heritage
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October 11, 2021 Presentation/Lecture examining digital strategy, cultural heritage, audience engagement and the power of brand. In addition, a look at the role of psychology in the development of strategies for public engagement and also a peek at a few emerging technologies and how they might have important applications in the cultural heritage and museum sectors. Agenda: 1. Introduction – career, position 2. Context for digital strategy 3. Digital at The Met 4. Brand and digital strategy 5. Case Study: from the MIA to Mia 6. Future vision and emerging technology 7. Q & A
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Digital Technology and Cultural Heritage
- 1. Digital Technology and Cultural Heritage Douglas Hegley Chief Digital Officer The Metropolitan Museum of Art 1 October 2021 - Douglas Hegley This presentation is shared: slideshare.net/dhegley
- 5. 5 Psychology in practice: • People • Truth • Change Arnold Newman, Pablo Picasso, 1954, The Metropolitan Museum of Art, 59.652.12 “Art is a lie that makes us realize truth” - Pablo Picasso
- 8. What is a Chief Digital Officer? 8
- 9. Thomas Struth “Audience 1 (Galleria Dell Accademia), Florenz”, 2010.51.2, Minneapolis Institute of Art People + Art
- 10. Digital Transformation Image Source: https://i2.wp.com/davidgodot.com/wp-content/uploads/2012/12/elephant.jpg?resize=636%2C310 Maybe if we ignore it, it will go away Umm …
- 11. Chief Digital Officer at The Met: Details 11 IN Customer Engagement Digital media production – video, audio, multimedia Application Development – web, mobile UX, UI, digital design Product Development Innovation, business disruption DAM, rights/permissions/licensing/IP Data: Engagement metrics
- 12. Chief Digital Officer at The Met: Details 12 IN OUT Customer Engagement Digital media production – video, audio, multimedia Application Development – web, mobile UX, UI, digital design Agile, Product Development Innovation, business disruption DAM, rights/permissions/licensing/IP Data: Engagement metrics IT: • Enterprise Systems Architecture • Technical Support/Help Desk • Cybersecurity • Compliance, Audit • Big Data & CRM Marketing: • Social media
- 13. Why? 13
- 14. “ … experiences of awe redefine the self …” + Connection + Cooperation + Sharing + Giving From “Why do We Experience Awe?” New York Times, May 22, 2015
- 15. How? 15
- 16. GENERAL PUBLIC ENGAGED, CURIOUS NICHE Surface swimming Snorkeling Scuba diving Overall Interpretive Framework ©2012 Douglas Hegley @dhegley Wading
- 17. CONTEXT Introduction What is this? Why does it matter? CONTENT Narratives Stories, tours What’s behind this? EXPERTISE Data, scholarly research Foundation built upon solid scholarship What are the details? How can they be verified? GENERAL PUBLIC ENGAGED, CURIOUS NICHE Invite, welcome Inspire, delight Inform, Teach Snorkeling Scuba diving Provide Layers of Information ©2012 Douglas Hegley @dhegley Surface swimming Wading
- 18. Context for Digital Strategy External factors Digital transformation Customer expectations
- 19. Context for Digital Strategy External factors Digital transformation Customer expectations Current Status Content production = digital Content sharing = digital
- 20. Context for Digital Strategy External factors Digital transformation Customer expectations Current Status Content production = digital Content sharing = digital Museums Real Physical space Special
- 21. Pros Advantages and Opportunities Digital Strategy ● Emphasizes the transformative power of digital ● Aligns digital efforts ● Provides clarity & transparency ● Ensures relevancy & effectiveness ● Recognizes digital as a specialty ● Frames decisions & manages expectations ● Is a teaching tool for staff
- 22. Cons Potential Pitfalls Digital Strategy might also ● Add unnecessary complexity ● Indicate that digital is separate - someone else’s job ● Confirm digital as extra, not core to the mission ● Focus too much on technology, leaving people out ● Seem really, really expensive
- 23. @dhegley Image Source: http://mmex.dk/sites/default/files/ClevelandMuseumofArt3.jpg Digital Strategy in the Cultural Heritage Sector
- 24. Digital at The Met
- 26. 26 Reach + Engagement + Impact
- 27. Digital Strategy and Brand 27
- 28. A strong Brand is NOT Declaration – a promise Simply a logo Story Sales pitch Recognizable - quickly Obscure, unclear Values – what you stand for An act or performance Inspiring – including for employees Insincere 28
- 29. Brand and Product Brand is a perception – it is what people think about you. Product is created by the organization, can be copied. Product is a thing Brand is a promise, a feeling or lifestyle, the fulfillment of a wish 29
- 30. Example: Disney Product Disney sells • animated films • amusement parks • merchandise 30
- 31. Brand example: Disney Product Disney sells • animated films • amusement parks • merchandise Brand Disney stands for • family values • making dreams come true 31
- 32. Digital Brand Strategy Communication and Promotion 32
- 33. Digital Branding Strategy - simplified Brand – Who you are: your story, your values Audience – Who you are seeking 33 GENERAL PUBLIC THE ENGAGED, CURIOUS NICHE
- 34. Digital Branding Strategy - simplified Brand – Who you are: your story, your values Audience – Who you are seeking Goal – Attendance, paid tickets, financial donations, membership 34
- 35. Digital Branding Strategy - simplified Brand – Who you are: your story, your values Audience – Who you are seeking Goal – Attendance, paid tickets, financial giving, membership Quality Content – Especially video, social media posts Digital Platform(s) – Choose (do one well) 35
- 36. Digital Branding Strategy - simplified Brand – Who you are: your story, your values Audience – Who you are seeking Goal – Attendance, paid tickets, financial giving, membership Quality Content – Especially video, social media posts Digital Platform(s) – Choose (do one well) Measure – What is working? Adjust & Repeat 36
- 37. Is Brand Important to Cultural Heritage? 37
- 38. 38 Product: Experience Learning, Wonder, Joy Brand promise: Impact Tolerance, Empathy, Worldly, Connected Image source: http://new.artsmia.org/wp-content/uploads/2015/04/art-team-photo1-1024x372.jpg Image source: http://blog.redcurrent.com/wp-content/uploads/2015/03/MIA-6-609x400.jpg Image source: https://www.krislindahl.com/uploads/agent-1/Minneapolis%20Institute%20of%20Arts%20- %20Frank%20by%20Chuck%20Close.jpg Douglas Hegley, slide
- 39. Competition is Strong Douglas Hegley, slide 39
- 40. Case Study Minneapolis Institute of Art 40
- 42. 42 2011: “Despite heroic efforts ... and the significant investmentof resources, the museum has not been able to increase participation in most of the categories ... (membership, attendance, school tours, web visits, contributions, etc.)” Source: Current Context and Environmental Scan: A Case for Change from DNA: Dynamic New Approach, 2012-2106 Strategic Plan, Minneapolis Institute of Art
- 43. 43 The Value Proposition A new take on a classic art museum where friends and family can enjoy the triumphs of human creativity
- 45. Cultural Heritage Audiences Demographics – younger, more diverse Participatory Mobile first Social - who you are with is more important than learning Stressed - A need to slow down 45
- 46. Why change the brand? The existing brand didn’t reflect the museum’s renewed emphasis on audience engagement. 46
- 47. 47
- 48. 48
- 49. New Brand A bold way to signal to the public a fundamental institutional shift to “the people’s museum”. 49
- 50. 50
- 51. Before 51
- 52. After 52
- 53. Before 53
- 54. After 54
- 55. 55
- 56. 56
- 57. Digital 57
- 58. 58 Psychological Continuum Model Adapted from Funk & James (2001), The Psychological Continuum Model: A Conceptual Framework for Understanding an Individual’s Psychological Connection to Sport, Sports Management Review, vol. 4, 119-150.
- 59. 59 Results?
- 60. 60 Mia Success (2012 to 2016) • Attendance: 70% increase Image Source: http://bit.ly/1MGvAsN
- 61. 61 Mia Success (2012 to 2016) • Attendance: 70% increase • Membership: 73% increase Image Source: http://bit.ly/1MGvAsN
- 62. 62 Mia Success (2012 to 2016) • Attendance: 70% increase • Membership: 73% increase • Website sessions: 40% increase Image Source: http://bit.ly/1MGvAsN
- 63. 63 Mia Success (2012 to 2016) • Attendance: 70% increase • Membership: 73% increase • Website sessions: 40% increase • Endowment for operations: 30% increase Image Source: http://bit.ly/1MGvAsN
- 64. Everyone
- 65. What’s Next: Vision & Innovation
- 69. Emerging Technologies: ML and AI ● Machine Learning ● Artificial Intelligence
- 70. 70
- 73. 73
- 74. 74
- 77. Thank you! Grazie! 77 This presentation is shared: slideshare.net/dhegley
Editor's Notes
- Grazie and hello! I am Douglas Hegley, and I work as the Chief Digital Officer at The Metropolitan Museum of Art in New York City.
- This is the second time I have worked at The Met. The first time was back in 1997, when computer technology was first being installed across the Museum. Back then, terms like “digital transformation” did not exist - but that is the work that I have been doing in the museum sector for most of my career: Helping organizations change in order to take advantage of the opportunities provided by technology innovations.
- After spending 14 years at The Met, I worked at the Minneapolis Institute of Art, where for 9 years I served as the organization’s first executive-level digital technology leader. I will speak more about transformation work at that museum later today
- But the truth is that I never planned to work in technology, and I never planned to work in the cultural heritage sector. My formal education is in the field of psychology, and I planned a career in conflict resolution or psychotherapy. However, I use my training in my work everyday.
- Because the practice of psychology can be summed up in three words: People, Truth, and Change. And these three elements are vital concerns for any technology leader.
- By bringing a psychology framework into the workplace, I have focused my career on supporting organizational development, driven by technology and innovation, to the success of the business. It’s like my career layer cake!
- I am very interested in the intersection Museums, People and Digital. I understand that we have seen how technology has a dark potential to isolate and anonymize people, but I feel strongly that technology is also capable of delight, surprise, engagement, connecting people and ideas, and opening doors into new experiences.
- Before we explore digital strategy further, let’s look at this question: What is a Chief Digital Officer?
- In the simplest terms, my primary responsibility is to connect people to the collection of art works through digital experiences.
- The other important responsibility I have is to support the Museum’s digital transformation. In our current time, the need for this transformation cannot be ignored. By digital transformation, I mean bringing meaningful museum experiences to our many audiences through digital channels. Because the online audience will always be significantly larger than the audience inside the museum.
- Of course, there are many more details about my job. As you can see at the very top is Customer Engagement. Under that, the methods my staff use to achieve that primary goal.
- There are several responsibilities related to technology that I do NOT manage at this point in my career, including the core IT functions and social media.
- But we must ask: Why do this kind of work in an art museum?
- We know that we can have an impact on people’s lives when they have experiences that resonate with them on a deep level. One of those experiences is awe. Psychology research has found that people who experience awe in their lives can be redefined. Think of that. They are more connected to others, more generous, more caring. They can become BETTER PEOPLE. Wow.
- Okay, so how do we start to make that happen?
- We start by understanding our audiences. The majority of our audiences do not come to us with a lot of prior knowledge. In order to engage as many of them as we can, it is our responsibility to deliver content that meets multiple and varied needs. Just like people on vacation at a seaside resort, most of them get in the water, but only a few go scuba diving.
- I realize that this slide is covered in words. The thing to understand is that the largest audience segment requires the least-detailed information: they are happy with an introduction and a bit of context. As they become more engaged, they seek stories. And the niche – expert – audiences are those who will take the deep dive into the details.
- Let’s put the interpretive strategy into context for digital strategy. We live in a world that has been transformed by ever-more-ubiquitous digital technology. This causes our audiences - customers - to have a set of expectations for content access, convenient transactions, and personalized service.
- Our organizations product content and share content via digital platforms, far more than any other.
- The expectations and status remain true even in the very special physical spaces that our museums provide, in the presence of real things that are imbued with history, creativity and rarity - things that are both valuable and meaningful. So the digital strategy must take all of this into consideration.
- A digital strategy, when done well, offers the following advantages to any organization.
- But there are risks that a digital strategy can mislead organizations.
- In the museum and cultural heritage sector, we are making progress – developing and using digital approaches that engage and delight our visitors.
- Let’s talk about Digital at The Met
- We ensure that our work is firmly planted in the core values of The Metropolitan Museum of Art – at a quality to match the stature of The Met, integrated into the museum’s vision and strategy, with technology that is flexible and adaptable, all leading to transformative and lasting change (not just digital decoration).
- We aim to reach audiences everywhere, engage them with compelling content, with the goal to create real impact – changing people’s lives through the experience of our incredible collection and what it means.
- Next, I am going to focus on the powerful combination of digital strategy and brand.
- A strong brand is very powerful.
- Your Brand enables you to be strategic about how you communicate and promote your organization digitally.
- A digital branding strategy empowers you to express your brand (story and values) to the audience that you are seeking.
- Perhaps you believe that Brand is only important in the commercial sector – why would brand be important for cultural heritage?
- Our primary product is EXPERIENCE – we sell experience. And our brand promise is tied to impact – we promise a deeper level of connection, increased tolerance and empathy, and a confirmation a person’s sense of identity as a citizen of the world.
- We have strong competition. Shopping, the cineplex, professional sports, travel, and even just sitting at home with a remote in your hand.
- I’d like to share with you a case study.
- The Minneapolis Institute of Art opened in 1915. Its permanent collection includes more than 90,000 works of art dating back over 5,000 years and representing the world’s diverse cultures across the globe. The museum has about 200 full time staff, an annual operating budget of more than $30 million US, and averages over 700,000 visitors per year (in the years just before the COVID-19 pandemic).
- Ten years ago, the museum found itself – like so many others - working tirelessly and yet not experiencing growth to match that effort. It seemed as if hard work was not paying off.
- Therefore the Minneapolis Institute of Art worked on understanding its unique market position and value proposition: what did it offer that others did not?
- At the core of the museum’s strategic efforts was the recognition and alignment on the fact that it is all about people. We must put audience first.
- Who are those people? Recent studies in the US indicate several important characteristics of modern-day audiences.
- The time was right for the museum to take a hard look at how it was representing itself.
- The old brand was stodgy, self-important, harsh, unwelcoming.
- In use, the old brand was muted, hesitant, disjointed – often hard to see.
- And part of that rebranding was a move from the M.I.A. (all capital letters) to “Mia” – pronounceable, human, relatable, friendly
- Note the consistent and bold brand emphasis
- From bus stops
- To roadside signage
- To digital – the website, Facebook, Twitter, etc. And what do we see represented? People! Of course the art work remains core and important, but the digital platforms show people engaging with the museum and each other.
- Mia applied the Psychological Continuum Model to put context around this workI encourage you to research the Psychological Continuum Model, because I only have time to briefly summarize today. As you can see, the model describes how audiences can move from basic awareness of your brand, to an attraction to your product (marketing is very effective here). Experiences then lead to a sense of attachment, which in some cases can be moved into allegiance (or loyalty) when audiences trust your Brand and believe that ALL products will be wonderful. That’s the ideal situation – trust that ANY experience at your organization will be fantastic!
- So what happened as a result of this new brand and all of the related work?
- Equally important, the staff of the museum was fully engaged, because they had been involved throughout the rebranding process and could see the impact it was making on the audiences.
- So let’s talk about the future: where do we go from here? As we move – hopefully soon - into a post-pandemic world, there is much to consider.
- Digital technology is an effective way to solidify The Met as a preeminent global center for visual technology, innovation, and education.
- Visitor behavior at the Museum locations is already different – for example, a demand for digital tools available on personal devices. , And post-COVID I believe we can anticipate continued changes to audience preferences and behaviors. We are preparing to be flexible and data-driven in our approach – if our audiences need it and like it and use it, we will build it.
- Emerging technologies are an exciting frontier, such as this example of augmented reality. As we look at how to apply these innovations at the Museum, we will ensure that we remain centered on The Met’s core values and purpose – I am not interested in technology just for technology’s sake. I am interested in delighting our audiences.
- New technologies can be seen as buzz words, and I don’t have time today to unpack these emerging technologies, which frankly can seem to be magical or impossible to understand. What I will say is that there are advances being made across business sectors that could very well have intriguing potential for museums. Let me give two specific examples.
- Using artificial intelligence can result in surprising and delightful discoveries. Here the Wikidata query service looks at our portrait of Madame X, and on the left you see a new discovery about the inspiration for a dress worn by Rita Hayworth in the film Gilda. Such new connections grow and emerge every day.
- Also I am excited about is the potential for real-time language translations driven by machine learning and natural language processing. Imagine people across the world able to interact with our collection and content in their native language, without the need for us to hire hundreds of translators to work manually for years to translate all of it.
- Like AI, you hear a lot of hype about AR or augmented reality. Again, developments in other arenas, particularly engineering and medicine, may have terrific uses in museums – especially as the technologies reach more of a consumer-grade level.
- My vision is grounded in museum practice, for example I believe there is promise in using AR to visually annotate a work of art.
- Think of this as an extension of projects like digital projections onto ancient objects, like The Met’s Temple of Dendur. These help us understand that these objects were once covered with color. When AR is more common, we won’t need to rely on limited projections like this, because the experience will take place through the visitor’s personal devices.
- What about a virtual docent? Imagine being able to access your favorite docent anytime, and possibly in your language of choice.
- Of course, it’s easier to dream about the future than it is to do the hard work to make it happen. These new technologies are ideas that we will test, not current projects with a planned delivery date. It is my intention for us to be envisioning the near horizon potential while never losing sight of WHY we invest in digital technologies: To invite, welcome, and DELIGHT our audiences, whether they are in the galleries or visiting us online.