Kim Glover, Taking Control of YOur Website's Destiny

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A Presentation from Museums and the Web 2009. We know many of the challenges that museums face. You have limited budgets, revolving door staff changes and a knowledge base that gets chipped away every time a department shifts. In order to take real advantage of your expanded web audience you must empower your staff to contribute content so your museum's website remains fresh and engaging. The challenge is finding a content management system that works for your specific institution. At a minimum your Web site platform should allow you to: * Create unlimited pages * Manage images and assets * Broadcast advocacy emails * Process membership and contribution transactions securely * Cross promote content * Administer programs and events All bundled under a simple, easy to use interface that doesn't require contributors to know a single line of code. Together we'll tour three content management systems meant to fit varying levels of available resources and budgets - including those that can only spring for freeware. This way you can make an informed, non-technical decision as to which platform is best suited for your organization. You can create a beautiful, branded, user-friendly site that will allow you to take the content that's currently at your fingertips and put it in front of your constituents - even if you don't know or have internal support for CSS, JavaScript, XHTML, PHP and numerous other languages. Mini-Workshop: CMS [Mini-Workshop]

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Taking Control of Your Website's Destiny!

Taking Control of Your Website's Destiny!
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Taking Control of Your Website's Destiny!
The Advantages of a Content Managed Website...

Decentralized Workﬂow
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Content Portability
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Put YOU in control of the site’s destiny.
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Taking Control of Your Website's Destiny!
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•Email Client:

Taking Control of Your Website's Destiny!
Choosing a Content Management System that is right for you.

1.) GOALS --> 2.) RESOURCES --> 3.) REQUIREMENTS

Taking Control of Your Website's Destiny!

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Examples:
Replace X, Y, Z
Design

Taking Control of Your Website's Destiny!

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1. Brainstorm
2. Prioritize
3. Set Deadlines

Taking Control of Your Website's Destiny!

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WHO’S ON MY TEAM?

Taking Control of Your Website's Destiny!

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Taking Control of Your Website's Destiny!

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INFORMATION ARCHITECTURE SENIOR STAFF
EXPERIENCE DESIGN
MARKETING
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STRATEGY

EDUCATION
DESIGN

DB ADMIN

PROJECT MANAGEMENT BACK-LEVEL CODE
BUSINESS DEVELOPMENT
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FRONT-LEVEL CODE SERVER ADMIN
CONTENT DEVELOPMENT

Taking Control of Your Website's Destiny!

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STRATEGY LEAD PROJECT MANAGERS WEB CONTENT MANAGER

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TEAM
BUDGET ALLOCATION
TIMEFRAME

Taking Control of Your Website's Destiny!

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FUNCTIONAL
Add / Edit / Delete Pages
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Cross Promote Content
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Add / Edit / Delete Menu Items
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Add / Edit / Delete Programs & Events
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Manage Images & Assets
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Taking Control of Your Website's Destiny!

1.) GOALS --> 2.) RESOURCES --> 3.) REQUIREMENTS

FUNCTIONAL
CONTENT
TECHNICAL

Taking Control of Your Website's Destiny!
Custom CMS: MUSEO Framework

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QA?

Taking Control of Your Website's Destiny!

CMS RATING SCALE...

Taking Control of Your Website's Destiny!

CMS RATING SCALE...

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Taking Control of Your Website's Destiny!

CMS RATING SCALE...

Pretty nasty, gulp down quickly and hold your nose
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Can be consumed un-chilled without evoking nausea
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Kim Glover, Taking Control of YOur Website's Destiny

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museums and the web

MW2011: N. Di Blas +, A “Smart” Authoring and Delivery Tool for Multichannel ...

museums and the web

This document discusses the need for and challenges of multi-channel communication and "multi-version" content delivery across different platforms and contexts. It proposes a solution involving content modeling to specify semantics, guidelines for content adaptation across channels, and enhancing the authoring tool 1001stories to support generating different content versions from a single source. Key aspects are modeling content fragments by role, defining adaptation processes, and enabling transformations within the authoring tool to produce customized versions for various delivery formats. Recent work on multi-version exhibitions at the Nippon museum in Lugano is presented as an example.

MW2011: D. Birchall + M. Henson, Gaming the museum

museums and the web

Why, with the vast resources, and fundamental human subjects at our disposal, have museums failed to make more than a handful of really compelling games? Are we too wedded to the idea that games must be educational? Do we lack the in-house skills to make subject matter and game engines gel, or are we simply trying to enter an overcrowded marketplace with too few resources? Should we leave making games to the professionals? At Wellcome Collection, we are beginning the process of making games for our website that put compelling gameplay at the centre of the experience, building our subject matter and resources around that experience. Games have their own logics and structure, and there's no reason these should be subjugated to narrow educational aims any more than the physical layout of the museum should determine the information architecture of our websites. The playful and exploratory impulses that draw gamers towards great games are still largely untapped as a means of engagement. Using the mini-workshop format, we will present our progress to date and open up a discussion of other museums' experience, sharing our ideas and understanding of games. We will use simple exercises to look at matching our available resources (narratives, photography, object databases) to modes of gameplay, as well as investigating reusable game engines, game syndication, and building enthusiasm for games inside the organisation. A presentation from Museums and the Web 2011 (MW2011).

MW2011: G. Chae +, Can Social Tagging Be a Tool to Reduce the Semantic Gap be...

museums and the web

After the emergence of Web 2.0, online art museums have been evolving into participatory museums, in an attempt to increase the public’s participation through the utilization of social media. Among many types of social media, social tagging has been receiving widespread attention as a tool for reducing the semantic gap between curators and visitors, through the group knowledge obtained from the active participation of the public. In this circumstance, Gyeonggi Museum of Modern Art (GMOMA) embarked on an ongoing project with us to explore the potential of social tagging and applying it into museum management strategy. In the end of 2009, we built our own tag database based on the collections from GMOMA, and experiments were carried out by building a testbed on a website that was created to collect tags of 128 pieces of artworks. After collecting the tags, we evaluated the feasibility of social tagging systems through workshops with curators from GMOMA. From the workshop we found the potentials of social tagging systems in museums through interviews and discussions with the curators, and identified the improvements that could be made in order to apply it to actual museums. However, we discovered that while the number of tags increased, social tagging systems showed limitations in providing meaningful information and supporting semantic relationships between tags and museum collections. The causes are as follows: Lack of order, structure and depth in tags Linguistic issues Free forms of tags can cause ambiguity, chaos and noise Spam tagsFailure to show the semantic relationships between tags; only provides an alphabetical list Thus to achieve a participatory web and reflect the visitors’ semantic appreciation of museum collections, we conclude that the existing tagging systems should be supplemented. To improve the existing social tagging system and enhance the semantic appreciation in online art museum, our suggested solution is faceted tagging system which gives a guideline or schema to users when tagging the individual artworks. By collecting tags through the faceted tagging systems, we can automatically obtain a semantic structure and meaningful groups of tags. Before implementing the faceted tagging system and proving that it works, we had to make facets that cover the all the categories of art museum tags. We proceeded with card-sorting tests to extract and verify facets from the collected tag database. We retrieved six facets – “Background, Identification, Theme, Association, Emotion and Figure” – based on the semantic structure of tags, which were in a mess but now can be categorized into meaningful groups (facets). Finally, user-tests are scheduled in order to prove that applying the six facets into the faceted tagging system can help to bridge the semantic gap between curators and audiences. For the user-tests, the same 128 artworks from the first experiment will be used, and we will compare the tags collected from the user-tests with the tags from the first experiment. Then we plan to discuss the feasibility of faceted tagging systems and its results – which we call structured tags – through a workshop with the curators from GMOMA.

MW2011: Klavans, J. +, Computational Linguistics in Museums: Applications fo...

museums and the web

As museums continue to develop more sophisticated techniques for managing and analyzing cultural data, many are beginning to encounter challenges when trying to deal with the nuances of language and automated processing tools. How might user-generated comments be harvested and processed to determine the nature of the comment? Is it possible to use existing collection documentation to derive relations between similar objects? How can we train systems to automatically recognize (disambiguate) different meanings of the same word? Can automated language processing lead to more compelling browsing interfaces for online collections? Luckily, a good deal of expertise and tools exist within the field of computational linguistics that can be applied to these problems to achieve meaningful results. Informed by previous work in computational linguistics and relevant project experience, the authors will address a number of these questions providing insight about how answers to impact museum practice might be found. Authors will share tools and resources that museum software developers can use to prototype and experiment with these techniques - without being experts in language processing themselves. In addition, the authors will describe the work of the T3: Text, Tags, Trust research project and how they have applied these tools to a large shared dataset of object metadata and social tags collected by the Steve.museum project. Specific challenges regarding batch-processing tools and large datasets will be addressed. Best practices and algorithms will be shared for dealing with a number of sticky issues. Directions for future research and promising application areas will be also be discussed. A presentation from Museums and the Web 2011 (MW2011)

MW2011: L. Tallon + I. Froes, Going Mobile? Insights into the museum communit...

museums and the web

If the future is mobile, how is the museum community experiencing that future, what are their ambitions within it, and in which areas is further knowledge share required? It was specifically to gain an insight into questions such as these that the 2010 International Museums and Mobile survey was developed. This paper will present and analyse the responses of the 600+ museum professionals that participated in this research. The 2010 International Museums and Mobile Survey reached out to museum professionals internationally to share their perspectives and understanding of mobile interpretation at their institutions. Dividing respondents into four categories – those from institutions that already used mobile interpretation, those from institutions that were planning to use mobile interpretation tools, those from institutions that had no plans to use mobile interpretation tools, and those from vendors working in this field – the survey sought to gain an insight into the everyday realities of developing, delivering and sustaining mobile interpretation provisions in an institution. The survey questions related to the objectives of, and target audience for, an institution’s mobile interpretation experience; the challenges faced by institutions in planning and operating a mobile interpretation experience; and what strategies were used to measure the success of these experiences. Other questions probed the aspects of mobile interpretation in which individuals felt there were insufficient knowledge share, and also about what excited them most in this field. Over 600 museum professionals responded to the survey, sharing their views on the above questions. Responses were received from individuals working in institutions with a wide variety of backgrounds and profiles: institutions in over twenty countries are represented in the results; two thirds of all responses were from institutions that did not use mobile interpretation tools, and of which half were planning to in the twelve months, and half had no such plans. Whilst a quarter of responses came from within institutions that boast an annual attendance upwards of 250,000 visitors, more than half had annual attendance of under 50,000 visitors (and less than 1 staff member working in digital media). Drawing on this data source, this Paper will draw out the key trends that arise, and forward analysis on their context and implications for the community. It will explore opinions on issues ranging from whether mobile interpretation should be available at an additional cost to visitors, to how to define the target audience for a mobile interpretation tool (i.e. is it just “those that like audio guides”?). And from whether in five years time museums will still be required to provide a hardware platform to visitors for the mobile experience, to the obstacles those entering the field are facing today. Through this analysis, this paper aims to provide guidance to those museums entering this field for the first time, create awareness of those areas where further knowledge share is required (and hopefully identify those institutions best placed to provide such knowledge), and ultimately provide a valuable tool on which to further inform debates in this field. A presentation from Museums and the Web 2011 (MW2011).

MW2011: D. Laursen, Guided expectations: a case study of a sound collage audi...

museums and the web

This paper is a user evaluation of a mobile phone audio guide, developed for visitors to use at the National Gallery of Denmark. The audio guide is offered as a downloadable MP3 file at every incoming visitor who is carrying a mobile phone with an open bluetooth connection. The guide itself is structured through association, offering an experience more comparable to an audio documentary than a traditional guided tour. Instead of directing the visitor's focus of attention to selected points and objects provided by the museum as a producer, the sound collage relates indirectly to the objects of the exhibition, emphasizing visitors' agency and authorship. The paper reports on a number of strategies developed by visitors experiencing an unfamiliar guide structure. These strategies reflect a conflict between the initial expectation of guiding instructions and the freedom of making choices according to personal interest, and a conflict between the expectation of a learning experience rather than an aesthetic experience. The results indicate that most visitors are able to make sense of the guide and to use it successfully, in different ways, to enrich their visit. The evaluation also shows that visitors are fund of using their own mobile phones - but they have several problems with their phones in downloading the MP3 file (accepting the file, finding the file, memory problems, etc.). A presentation from Museums and the Web 2011 (MW2011)

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For the opening of the Museum's new Art of the Americas wing, the Museum of Fine Arts, Boston embarked upon a sweeping new program to transform the traditional audio guide into a new iPod Touch-based multimedia guide. This ambitious endeavor was fraught with challenges as diverse as managing content production at a new scale and determining how to reliably charge 750 devices at a time. In this session, MFA New Media team members will share lessons learned from our large-scale project, including points such as: Strategy - determining the best direction for our visitors and institution Planning and evaluation - prototype testing of content and the device Offerings - features and tours (adult, kids, foreign language, special exhibition, and audio described guides) Content production - moving production in house while still leveraging experts CMS - selecting and enhancing the guide content management solution Updating content - crafting a solution for making content updates manageable Security - protecting the investment Equipment - cases, headphones, lanyards, chargers and more Operations - managing workflow, training, and rental and return Future growth - where we'll be heading next The MFA uses TAP as the CMS, with a modified/customized TAP app as the user interface. We use the Nous case and a homegrown charging solution. A presentation from Museums and the Web 2011 (MW2011).

MW2011: S. Fantoni, Mobile devices for orientation and way finding: the case ...

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pportunities that these could offer particularly in terms of visitors' orientation and way finding. The presence of a touch screen, in fact, supports the use of interactive maps, which, alone or in combination with location aware technologies can help visitors understand where they are and decide where to go. More than 10 years have now passed since the implementation of the first handheld guide and, unfortunately, many museums are still struggling to develop and implement effective way finding solutions on mobile platforms. Location aware technologies have proven to be expensive and problematic to install and maintain, while interactive maps, particularly of complex sites can be challenging for people to use and interpret on small screens. Building on the experience of other institutions such as Tate, the Met and the Louvre, the British Museum has recently launched a multimedia guide in 11 languages that supports way finding and orientation without relying on location aware technology. In this paper, we will present in details the various way finding solutions that were developed for the guide, as well as the results of research and evaluations that were carried out on these applications during and after the launch. Through our experience, we hope to provide a reference for other medium and large size museums, which are grappling with similar issues. A presentation from Museums and the Web 2011 (MW2011).

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A presentation from Museums and the Web 2010. Europeana, Europe's multimedia on-line library, museum and archive, currently grants access to the cultural holdings of Europe's twenty-seven member states. It includes more than 5.5 million books, maps, recordings, photographs, archival documents, paintings, and films from national libraries and cultural institutions. Europeana’s goal is to open up new ways of exploring Europe's heritage through free access to the collections and treasures via a single Web portal that is available in all the official EU languages (http://ec.europa.eu/information_society/ doc/factsheets /071-europeana-en.pdf). Europeana is currently in prototype; the full service will launch later in 2010. The operational Europeana portal will provide improved search functionality and access to over 10 million objects. A follow-up release in 2011 will showcase multilingual and semantic Web features. ATHENA's role is to harvest holdings from Europe's museums and similar collections across the cultural sector, and to facilitate their integration into Europeana. This paper will discuss this ambitious project from the point of view of the organizational strategies required to coordinate the pan-European, ATHENA Network, as well as the thesauri and multilingual developments that the partners are currently dealing with towards the integration of digital content. Session: Multi-Institutional Collaboration: Process [organizations]

MW2010: D. Peacock, Putting Mallala on the map: Creating a wiki community wit...

museums and the web

A presentation from Museums and the Web 2010. The Now and Then community heritage wiki was initiated to research the potential of Web 2.0 technologies to engage and sustain interest in local history and heritage collections. The aim of this action research project is to explore whether wikis can provide a low-cost, sustainable way of increasing interest and participation in the preservation, interpretation and enjoyment of local history and heritage collections. The target organisations to use the wiki are generally very small and are often staffed solely by volunteers. The pilot implementation in a small rural community has been well received and is generating significant levels of interest and participation. This paper aims to share the learning from this project about the potential and implications of wikis as the basis for sustainable knowledge communities around local history and heritage. It explores how collaborative knowledge-making practices such as crowdsourcing present new challenges and opportunities for museums, their information management paradigms, and their relationships with communities. Session: Wikis for Content Management [content] see http://www.archimuse.com/mw2010/abstracts/prg_335002330.html

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Folding is a recent technique for building efficient recursive SNARKs. Several elegant folding protocols have been proposed, such as Nova, Supernova, Hypernova, Protostar, and others. However, all of them rely on an additively homomorphic commitment scheme based on discrete log, and are therefore not post-quantum secure. In this work we present LatticeFold, the first lattice-based folding protocol based on the Module SIS problem. This folding protocol naturally leads to an efficient recursive lattice-based SNARK and an efficient PCD scheme. LatticeFold supports folding low-degree relations, such as R1CS, as well as high-degree relations, such as CCS. The key challenge is to construct a secure folding protocol that works with the Ajtai commitment scheme. The difficulty, is ensuring that extracted witnesses are low norm through many rounds of folding. We present a novel technique using the sumcheck protocol to ensure that extracted witnesses are always low norm no matter how many rounds of folding are used. Our evaluation of the final proof system suggests that it is as performant as Hypernova, while providing post-quantum security. Paper Link: https://eprint.iacr.org/2024/257

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How information systems are built or acquired puts information, which is what they should be about, in a secondary place. Our language adapted accordingly, and we no longer talk about information systems but applications. Applications evolved in a way to break data into diverse fragments, tightly coupled with applications and expensive to integrate. The result is technical debt, which is re-paid by taking even bigger "loans", resulting in an ever-increasing technical debt. Software engineering and procurement practices work in sync with market forces to maintain this trend. This talk demonstrates how natural this situation is. The question is: can something be done to reverse the trend?

Introduction of Cybersecurity with OSS at Code Europe 2024

Hiroshi SHIBATA

I develop the Ruby programming language, RubyGems, and Bundler, which are package managers for Ruby. Today, I will introduce how to enhance the security of your application using open-source software (OSS) examples from Ruby and RubyGems. The first topic is CVE (Common Vulnerabilities and Exposures). I have published CVEs many times. But what exactly is a CVE? I'll provide a basic understanding of CVEs and explain how to detect and handle vulnerabilities in OSS. Next, let's discuss package managers. Package managers play a critical role in the OSS ecosystem. I'll explain how to manage library dependencies in your application. I'll share insights into how the Ruby and RubyGems core team works to keep our ecosystem safe. By the end of this talk, you'll have a better understanding of how to safeguard your code.

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HCL Notes and Domino License Cost Reduction in the World of DLAU

panagenda

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Antonios Katsarakis

This slide deck presents DLHT, a concurrent in-memory hashtable. Despite efforts to optimize hashtables, that go as far as sacrificing core functionality, state-of-the-art designs still incur multiple memory accesses per request and block request processing in three cases. First, most hashtables block while waiting for data to be retrieved from memory. Second, open-addressing designs, which represent the current state-of-the-art, either cannot free index slots on deletes or must block all requests to do so. Third, index resizes block every request until all objects are copied to the new index. Defying folklore wisdom, DLHT forgoes open-addressing and adopts a fully-featured and memory-aware closed-addressing design based on bounded cache-line-chaining. This design offers lock-free index operations and deletes that free slots instantly, (2) completes most requests with a single memory access, (3) utilizes software prefetching to hide memory latencies, and (4) employs a novel non-blocking and parallel resizing. In a commodity server and a memory-resident workload, DLHT surpasses 1.6B requests per second and provides 3.5x (12x) the throughput of the state-of-the-art closed-addressing (open-addressing) resizable hashtable on Gets (Deletes).

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Zilliz

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Kim Glover, Taking Control of YOur Website's Destiny

3. Taking Control of Your Website's Destiny!

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21. Taking Control of Your Website's Destiny! Custom CMS: MUSEO Framework

22. Taking Control of Your Website's Destiny! Custom CMS: MUSEO Framework

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