ICOM-ITC Relevant forever lecture_vs3

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d i g i t a l e n g a g e m e n t
digital engagement

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Relevant forever means:
how to:
• articulate a dream
• make the dream come true
• share this dream and
• keep this dream alive, using different (digital)
media
• together with your audience, stakeholders,
partners…

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d i g i t a l e n g a g e m e n t Step by step to an understanding of identity & fangagement,
how they strengthen eachother; using digital and social media
1. understanding what environment and business we/you are
in
2. understanding the identity and values of your organization,
how it works to attract an audience based on shared
interest
3. personifying this identity, building relations with individuals
4. getting an understanding of the assets, the main activities,
relationships and distribution channels (“venues or meeting
places”) of your organization
5. find out who to follow, who wants to follow you and who to
involve and why this can lead to added value.
Which all together will lead to a more engaging and
sustainable organisation, that is relevant for visitors,
stakeholders, partners, society.
(digital) engagement starts with a
powerhouse…

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powerhouse…
• introduction to the Big Idea: why, how & what, who =
the power source of your organization
- making heritage relevant: essentials & fangagement 
• your case in the workshop
- introduction to Ready, SET, Go!
- within +13 questions, you'll have created a basis for
your organisation’s sustainable engagement 
• your strategy in the workshop
introduction to the Digital Engagement Framework and
learn how to work with it

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d i g i t a l e n g a g e m e n t Two tools: the Digital Engagement Framework and
the Social Engagement Tool, will lead you to further
understanding, and to putting things into practise
with a strategy for your museum.
powerhouse…

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“If you're not prepared to be wrong,
you'll never come up with anything original.”
Ken Robinson
The Element: How Finding Your Passion Changes Everything
Relevant forever means: dare to realize
your ultimate ambition

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My identity:

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I love to make museums (more engaging)

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museum in the making: in the cloud,
reaching out with satellite buildings
“I am not interested
in erecting a
building, but in […]
presenting to myself
the foundations of
all possible
buildings.” 
Ludwig Wittgenstein
schools
libraries
museums
makers
followers
customers

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engagement in the making + Richard
Sennett
• Learning by doing and by repetition reconnects the mind with
the hand and the body.
• Understand the importance of sketching – that is ensuring
that you do not know too precisely what you are about when
you begin.
• Sennett’s notion of ‘the sketch’ is key to understanding the
educational potential of the new media
• Learning by repetition should be in the context of an open
system, not a closed curriculum
• A museum could (and should) make the connection between
(old) craftmanship and 3D printing, between production and
customers, between resources and makers, between
tradition and future economies

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engagement in the making + Gardner
Howard Gardner argues that in our rapidly changing world, the
following five minds, encapsulating skills, values, attitudes and
knowledge, are crucial:
• The Disciplined Mind
• The Synthesizing Mind
• The Respectful Mind
• The Creating Mind
• The Ethical Mind > The ethical mind is more abstract than the
respectful mind. It is more about meaning: our role as a
student, future worker and citizen; how we can serve a greater,
common good that goes beyond self-interest
"I believe that current formal education still prepares students
primarily for the world of the past, rather than for possible
worlds of the future."

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“Most company leaders are too narrow in defining their
competitive landscape or market space. They fail to see the
potential for “non-traditional” competitors, and therefore
often misperceive their basic business definition and future
market space.
But the biggest threats usually come from oblique competitors
that are solving the same problem, in a different way with an
alternate offering for the customer.” 
‘‘We don’t want to go back to the same normalcy that we’re coming from.
We will create a new normalcy which will stay and keep on moving and
change the world.’’
Nobel Peace Prize winner Muhammad Yunus, 
World Economic Forum 2009, Davos
1. What business are you in right now?
2. What is the value museums create?
Finally, we start doing business.
What business?
google glass
blue ocean strategy

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what is the value of museums and how is it created?

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guests museum
joint value
audience staff
what is the value of museums and how is it created?
assets
resources
needs
knowledge

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The first 'museum' was
actually a library.
Museums and libraries
still share the principle
of collecting wisdom,
knowledge, beauty and
amazement. Both
function as a meeting
place. Together they
can contribute to
shaping our future.
1. topics & terminology #I museums as conversations

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a museums is not mainly a depository for conserving &
safeguarding, research and communication of local,
regional or national treasures for the sake of historical or
cultural understanding. It used to be that way, like the
buildings for the embodiment of peoples history, which is
necessary. But society changes and technology enhances
that change.
That means we have to talk about museums, technology,
and society. And about change. Do we want to change?
Why?
There is the Chinese proverb: "When the wind of change
blows, some people build shelters, others build windmills."

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McKinsey: "companies that have successfully transitioned
to become high-performing digital enterprises are able to
orchestrate six building blocks: strategy and innovation, the
customer decision journey, process automation,
organization, technology, and data and analytics (exhibit).
Now, not every digital initiative requires each building
block to be developed and used to the same degree.
Some blocks will also serve as more natural starting points,
depending on a company’s circumstances."
Be clear about the change, and set high aspirations.
Create incentives that are aligned with business outcomes.
Create a ‘single team’ mind-set.
Build a continuous-improvement and data-driven culture.
Build the right capabilities.
1. topics & terminology #I museums as change agents

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distributed (inside out)
connected (social, relational)
building sustainable (relations)
dispersed (loosely joined)
enabling (interaction
education)
engaging (who?)
learning (from everyone)
participating (in society)
What are the values, ambitions, targets, roles/tasks your
audience is looking for? Where can you meet?

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Museums can bridge the gap between people and culture,
people and history, people and technology, people and the
changing world… And provide true connections between real
people and real experiences.
The social part is allways very real, very analogue and human
in the digital world

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http://www.museumoflondon.org.uk/files/4413/7468/3728/Telling-Tales.pdf
1. topics & terminology #I museums as storytellers
‘We are stories. We make sense of the world through stories.
We make meaning out of stories and remember through
stories.’
Jane Cockcroft, Handel House Museum
"Digital storytelling seems to constitute an appropriate
foundation for designing and experiencing visits to museum
exhibitions. […] the CHESS project proposed a plot-based
approach, where the story authors (e.g., curators, museum
educators, exhibition designers) write and produce narratives
around preselected museum themes (Vayanou et al., 2014).
Similar to the making of a movie, the interactive story creation
includes four main phases: scripting, staging, producing, and
editing."… >
http://mw2015.museumsandtheweb.com/paper/the-museum-as-digital-storyteller-
collaborative-participatory-creation-of-interactive-digital-experiences/

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http://mw2015.museumsandtheweb.com/paper/the-museum-as-digital-storyteller-
collaborative-participatory-creation-of-interactive-digital-experiences/
… "With the widespread adoption of interactive digital
exhibits and mobile technologies, storytelling in a museum is
taking new forms, incorporating such mechanisms as
branching narratives, personalization, and adaptivity to visitor
behavior and actions.
[…] Nevertheless, digital experience (co-)creation is not
without challenges. On the one hand, it must consider the
redefinition of the museum’s internal organization or workflow,
which now has to open to horizontal but also external
exchanges (i.e., with professionals from outside the
institution). On the other hand, pure academic skills are no
longer enough; authors need to have an interdisciplinary
background or at least to become familiar with new
methodologies (e.g., visitor-centered design, less academic
and emotionally evocative storytelling techniques) and tools
(e.g., authoring and publishing software)."
Maria Roussou, Laia Pujol, Akrivi Katifori, Angeliki Chrysanthi, Sara Perry
and Maria Vayanou

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https://museumhack.com/storytelling-workshop-at-the-modern-museum-malmo/”
Museumhack: "Art (or science, history) can be talked about in
a way that fascinates, teaches, and entertains. By wrapping
your audience up in a fantastic, hilarious or relatable story
about the work or the artist- they become invested in the art,
and learn to appreciate it in a totally different way. The gold
standard is when your stories go viral, i.e., they are so
memorable and compelling that your visitors go home and
tell their friends and family about what they learned at the
museum."
For a story to go viral, two things are needed: 1. a good story,
that comes from a core text (easy to understand, remember
and repeat), that is brief, concise, direct, that has a good
storyline, facts, humor, personal interest; 2. channels through
which it can travel, be transmitted and modified (like a virus
that adapts itself to the new host body).
Digital media are very suitable in providing channels, invite
people to share and co-create (modify) the stories. But it starts
with understanding what it takes to produce an engaging,
compelling story.

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https://museumhack.com/storytelling-workshop-at-the-modern-museum-malmo/”

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Social institutions are places where all stakeholders structurally
and systematically work together to create value. Museums
are made by people for people, that why they are social.
Jasper Visser says: "The digital revolution is a human
revolution."  
It is about new relations between organisations, people,
issues, causes and moments. There are 8 themes that define
social institutions:
Story
Leadership
Audience
Organisation
Community
Society
Space
Assets
1. topics & terminology #I museums are social

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Story and leadership, which means the idea behind the
organization from the vision and mission and with whom the
organization want to build relations, are part of the
organizations identity. When this is situated in the context of
society, aiming at communities, values and topics in society,
that means the organization is participating in society as a
social institution.

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don't you like it?
Hack the Museum!
1. topics & terminology #I museums… why?

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MuseumHack: "Many museums have been transformed from
restrained containers to exuberant companions…
Surveys show that better-educated people are more likely to
be museum goers. They want to see where they fit in the
wider world and look at museums for guidance.
Museums can be authentic and intriguing for young people
when their electronic entertainments start to pall."
(unless museums are offering mainly electronic
entertainments…)

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MuseumHack: "Offer narratives to exhibitions, provide a
layered context, link objects, images and stories to other
people, locations, periods and information." Narratives go
very well with digital media. It can help to enable visitors to
participate, also digitally, as well as watch and listen." 
Reach out and keep in touch with them online, mobile, digital
devices, but do not forget that technology is changing rapidly.
People do not. They are best in human behavior, socially
endowed, looking for each other, and perhaps for a museum,
a meeting place for reflection and wonderment.

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1. topics & terminology #I engagement is radical?
Engagement is a way to help your museum te be not just
interesting or attractive, but essentially relevant. Relevant to
the audience, visitors, participants, partners, stakeholders,
and anyone else your museum can build a relation with.
Engagement is both an attitude and a mindset, put into
practice in a radically collaborative way. Your organization
has to be fit for involving the audience by starting
conversations about questions from visitors, issues in society,
about filosophy, art, poetry, science, challenging the audience
and daring to be challenged by the audience, fit for co-
creation, learning by doing, design thinking. Digital resources,
tools and distribution channels can help with all this and can
be used to speed up and intensivate this process.
Nina Simon says: "How do you build a radically collaborative
institution? Practice the art of invitation."

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skip the museumwebsite?

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Google?

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will they look
for shared
experiences?
media on top of ech other?

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search engine or valuable fun?

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collecting / recollecting?

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1. topics & terminology #I engagement is digital?
in a playful way

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So what's the "secret sauce"? The book outlines six coordinated
practices that make organizations "magnetic":
We've all seen them, those organizations that have the ability to
attract innovative leadership, talented staff, energetic board
members, dedicated volunteers, devoted followers, and ample
resources that enable them to accomplish big things and thrive,
even when times are tough.
How do they do it? By investing in personal relationships,
forging emotional connections, and creating meaningful
experiences.
1. topics & terminology #I engagement: organization

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engagement in the making: become essential
The museum should participate in and contribute to society.
That means not just generating economic value. A museum
could also act as an inspiration and an incubator for new start-
ups, thus connecting the past and the future.

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engagement: never waste a good crisis

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mission: build an ark, get everyone on board, especially
when it comes to digital engagement
Build trust through high performance:
- external orientation, like 'market responsiveness', finding
opportunities
- organizational design
- (internal) culture: values, leadership & responsibility
(individuals), roles
- focus on process (instead of control), mission and executive
strategy
- technology & communication

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turn the museum inside out (and outside in), use
digital media for connectivity

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the museum can be anywhere, where people are
Martin Barden (Tate) says, that any customer or user
‘visiting’ your museum, already said yes. So accompany them
on their journey through the whole environment of your
museum

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It’s Really About What You Value 
But Parents Won’t or Don’t Want to Participate?!
1. Be positive and do away with the word ‘No’. Tell visitors what
they can do at the door, don’t pin up a list of things they
can’t.
2. Share storieswith each other. Listen. Families can be experts
too.
3. Don’t say ssshhhush! If kids are being noisy, ask yourself
‘Why?’ Is it because they’re excited? Great! Then capture that
excitement. Is it because they’re bored? Then give them
something meaningful to do.
4. Say ‘Please touch!’as often as you can. Everyone finds real
objects awesome. Direct kids to things that can be handled,
teach respect and explain why others can’t.
5. Give a hand to grown-upsas well as children. Sometimes it
isn’t the kids who are shy – parents need your support too.
Produce guides, trails and activities so everyone can join in.
6. Be aware of different families’ needs.Use your imagination
with signs, symbols, and words understood by all. Design
everything you offer to be equally accessible to disabled and
non-disabled visitors alike.
1. topics & terminology #I engagement: education

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"On November 21 fifty children will create inventions for the
cities of the future, inspired by the smart cycles of nature. This
Design-a-Thon is organized in the context of the Dutch
Presidency of the EU in the first half year of 2016. The children
will present their inventions to Prince Carlos de Bourbon de
Parme, who will use them as inspiration for a widely supported
vision on the Netherlands as a hotspot for the circular economy.
The vision is currently being prepared in collaboration with a
broad group of prominent leaders from business, government
and academia."

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Keypoint #1:
Creative (digital) tools can strengthen the understanding
and exploration of community values.
Keypoint #2:
Creative (digital) tools increase stakeholder involvement.
Keypoint #3:
Creative (digital) tools can better engage the public in
community and urban design projects.
1. topics & terminology #I engagement: community

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"He who controls the past controls the future. He who
controls the present controls the past."
(George Orwell)
 
"The most important attitude towards digital information,
tools and media is using the analogue skills you master
already. That means being human, paying attention, take
care, communicate, build relations."
(me)
1. topics & terminology #I digital: beware

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Technology changes fast, people don't.
Digital strategy is intrinsic to business strategy today. In fact,
90 percent of digital leaders (versus 60 percent of all leaders)
have fully integrated digital into their strategic-planning
process. The best digital strategies don’t rely on past
analyses, but instead start fresh and carve out a vision based
on where they believe value is likely to shift over the next
three to five years
(http://www.mckinsey.com/Insights/Organization/
Six_building_blocks_for_creating_a_high_performing_digital_enterprise?cid=digital-eml-alt-mip-mck-
oth-1509) 

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We're using social media now and then. It doesn't work well,
demands a lot of time, people get angry with us…

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Suddenly we got so many likes…
1. topics & terminology #I digital: take care

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- marketing
- communication
- information
- conversation
- education
- storytelling
- activation
1. topics & terminology #I digital: six usages

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digitization
computerization
open data
multimedia
and (mobile)
devices
Innovative
technology /
media:
domotica,
robotica, etc.
social media
communication
social innovation
games &
gamification
knowledge
sharing
education
participation
moocs, etc.

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make your own masterpiece
1. topics & terminology #I digital: screen

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personalization
1. topics & terminology #I digital: projection

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1. topics & terminology #3 digital: interactive wall

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1. topics & terminology #3 digital: 3D print

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1. topics & terminology #3 digital: mobile

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1. topics & terminology #3 digital: AR

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1. topics & terminology #3 digital: app

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1. topics & terminology #3 digital: domotica + guide

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Social Engagement Tool

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2. idea: can the future help you?

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2. idea: find solutions, make it work

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2. idea: can you attribute to the future?

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Wankel engine
effect
vision
beckoning power
imaginative + influencing
draw attention / give direction
mission
working power
creating solutions + awareness
problem solving / promise
relation
recruiting power
connecting, behavioral
change, participation
strategy
strategy
strategy
2. idea: Big Idea as a powersource

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A Big Idea is a game-changer. It shifts paradigms and
turns category convention on its head. A Big Idea can also
be a small spark, a little project that turns your museum into
a magnetic 'agora', where people meet, have enthusiastic
conversations, are being amazed and inspired and where
engagement is enlighted by that spark.
The power source of your organisation is defined by the core
of existence: vision, mission, relation, put into one sentence.
It tells why your organisation exists and for whom. 
2. describe the powersource of your organisation, using:
• visionairy/beckoning power (“look!”)
• missionairy/working power (“because...”)
• relational/recruiting power (“and so, that means…”)
summarize them in one sentence… 
2. idea: Big Idea as a powersource

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• Concepting (Jan Rijkenberg - BSUR) is bringing thought-
concepts / big ideas ‘to market’, for the process of
attracting audiences, based on the mentality concept of
an organisation (instead of spending too much budget on
marketing, trying to convince people). 
• Societal marketing is the planning and implementation of
programs designed to bring about social change using
concepts from commercial marketing. 
• by sharing the things and thoughts that are really
important to you and your museum, coming from the
identity and the values (and the collection?), you give your
audience the chance to (dis)agree with you and become a
follower (instead of an anonymous target group).
2. context: fangagement & followers

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Unesco, World
Wildlife Fund,
Forest Stewardship
Council, Amnesty
International,
Google Art
Project… they all
use social media to
engage their fans.
2. context: museum as a 'lovemark'

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a zoo, concerned
about the
disappearance of the
tropical rainforest,
starts a conversation
about this with the
visitors. Together they
do fundraising to
support something
bigger, a transcendent
purpose, than the zoo.
2. context: contributing to a bigger theme

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d i g i t a l e n g a g e m e n t P.E.R.M.A. (* Martin Seligman) 
• Positive emotions
• Engagement
• Relations
• Meaning and purpose
• Accomplishment
2. context: approach, ambition, well-being

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• by knowing what is concerning your audience, and what
the most challenging issues in society are, you have the
opportunity to start a conversation. Mobile technology
and web-infrastructure give you the possibility to make
this conversation personal and on-going.
• this way we combine Concepting and Societal marketing.
That’s the basis of value creation and exchange.
3.What is concerning your audience / society?
4.What are the core values, considering your heritage?
5.What is the most daring ambition of your organisation?
6.Why are these values/issues/topics important for your
fans?
2. context: turmoil & trends, core values

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example: being social, adaptive

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example: share interest

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2. examples: Customers as partners

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2. examples: sharing a label

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2. examples: objects tell a story

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2. examples: smart replicas

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2. examples: smart pencil

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• describe a main issue your organisation is facing, when engaging
both audiences and stakeholders and the way finance and funding
(or the lack of money) is involved. What is the real bottleneck? 
(in less than 5 minutes...)
• working on one of the 5 cases in small groups
• plenary session with the outcomes of the cases with brief feedback
on the general issues
7.describe an issue your visitor is facing when dealing with daily life,
information overflow, technology, media literacy, etc.
your case

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• Business Model Canvas (Osterwalder & Pigneur)
• Systematic Inventive Thinking
2. business: assets, proposition, resources

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d i g i t a l e n g a g e m e n t the business model canvas in a nutshell and how to use the
canvas
8.what are the main assets of your museum, what are
you good at? 
9.what are the main activities? 
10. how about your resources, how will they help? 
11.describe the most important relationships  
12.which distribution channels (“venues or meeting
places”) does your museum use?
2. business: business model canvas

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2. business: business model value proposition

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1. vision / mission / relation
2. context
3. business (model)
4. social / reach
5. plan
/ act
environmental factors
2. business: business model as change process

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• Systematic Inventive Thinking (SIT) can be used to come
up with new ideas from existing ideas, knowledge and
creativity, based on the expertise and assets within your
organisation 
• SIT can also be used for (reinventing) your communication,
engagement and/or use of new media
2. business: systematic inventive thinking

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Systematic Inventive Thinking (SIT) is a thinking method
developed in Israel in the mid-1990s by PhD students Jacob
Goldenberg and Roni Horowitz. SIT is a practical approach to
creativity, innovation and problem solving, which has become a
well known methodology for Innovation.  
Derived from Genrich Altshuller’s (born Tashkent, Uzbek SSR,
USSR, 15 October 1926; died Petrozavodsk, Russia, 24
September 1998) TRIZ (теория), which is also known as Theory
of Inventive Problem Solving (TIPS):  
inventive solutions share common patterns.  
Focusing not on what makes inventive solutions different - but
on what they share in common - is core to SIT’s approach.  
 
These patterns, that build somehow the DNA of profitable
ideas, could be translated into thinking tools that can be
applied on existing situations. Like this we implement this
‘DNA’ in existing products, processes or strategies to create a
new situations from the current state that break mental
fixedness and make new valuable ideas available, that still are
not to far away from the starting point.

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SET

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• the shortage
• the long term
• 5 x R:
1. Research (audience / agora / themes / topics)
2. Resources (content, creation, crowd)
3. Reach/realm (media choice, timing)
4. Relations
5. Relevance!
12.who to follow and who to involve using social media:
why and how could your organisation participate in
society? 
13.Who are the greatest fans and how can you maintain a
(co-creation) relationship with them?  
What’s it worth? (visits, contributions / co-creation,
meta-data, money, etc.)
2. social: from friendraising to funding

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• Will you offer heritage, art, an experience, products,
services, discount, exclusiveness in this journey?
• Are they in for membership, philantropy, benefits,
sociability, excitement, information co-creation...
• how about the brand promise, systems, retention
engagement, lifetime value, customer motivation...
14.does every step, every interaction in the journey
strengthen the ‘bold promise’ of your organisation?
How can you make the world a better place , which
relationships can be restored? 
15. are all your (digital) channels fit to have conversations
about this 'bold promise'? Who is talking?
2. social: from friendraising to funding

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d i g i t a l e n g a g e m e n t "Museum leaders should also explore different approaches for
establishing strategies and choosing priorities. Moving
towards a strategic framework about what impact the museum
is aiming to achieve first, and how it plans to achieve it second
will serve to rebalance the conversation between new
buildings, online engagement, and new ways of working for
the staff.”
(Janet Carding)
3. digital engagement framework

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institutional change on a practical level

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Questions? Suggestions?
Please send an e-mail:
tcmeereboer@gmail.com
theo@stichtingE30.nl
Tw. @theomeereboer
Fb / WeChat / G+: Theo Meereboer
StichtingE30.nl
COMMiDEA.nl
erfgoed20.nl
collectiewijzer.nl  
inheritage.eu
谢谢
Thank you!

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