It's 2009 out there, but what year is it in your museum? Museum technologists as double domain experts; how to enable innovation in your cultural heritage organisation; why we need to pop bubbles between museum departments and museums and their audiences.
The Melbourne cultural heritage pecha kucha evening was organised on Museum 3.0 (http://museum30.ning.com/) and held at the Australian Centre for the Moving Image on July 16, 2009.
My slides are based on those I made for the London museum pecha kucha night in June 2009.
The document describes the creation of a new children's area called the Magic Boxes at the Veria Central Public Library in Greece. The Magic Boxes were designed to create an emotionally engaging and creativity-inspiring space for children through colorful materials, distinct constructions, and flexible furniture. Since opening in 2009, the Magic Boxes have hosted around 20 activities per month and attracted nearly 5,000 elementary and primary students. Going forward, the library aims to continually renew the Magic Boxes experience through personalized activities, ubiquitous technology, and potentially transforming the entire library building into a user-centric environment divided into interactive thematic spaces.
Publishing Museum-Object-Information: It's not always easy ...museum-digital
The document discusses the experiences of museums in Saxony-Anhalt, Germany collaborating to make their collections available online. Six museums created a website called Museum-Digital to publish information on their objects. Over time, more museums participated and the site grew to include over 13,000 objects. Publishing objects online provides benefits like increasing visibility, encouraging cooperation among museums, and engaging with the public. However, it also requires resources like time, expertise and staff that many museums lack. Overall, the collaboration has helped advertise the participating museums and their collections.
MW2010: J. Doyle + M. Doyle, Mixing Social Glue with Brick and Mortar: Experi...museums and the web
The document discusses Mobeum, a mobile tour app designed for small museums to share their content and connect with visitors. It was created using the same content from Open Museum, an online participatory exhibit space. The initial goal was to use mobile tours to establish ongoing relationships between museums and visitors through social interactions around digital objects. An initial test was conducted at the Hood Museum of Art, focusing on 24 artworks. Lessons learned included that QR codes weren't ready, not all phones are equal, and balancing authoritative content with hospitality towards visitors is a challenge.
National Musesums Liverpool House of Memories is a museum-led dementia awareness programme which offers programme which offers training, access to resources and museum-based activities to enable carers to provide person-centred care for people living with dementia.
Cosmos And Culture Mashup - experimenting with new ways of publishing Science...Mia
An internal presentation I put together to get approval for a competition that will ask people to create mashed up interfaces with our collections data. We'll make object data from our collections database created for the gallery available so that people can link it with whatever interface or datasets they think will make a great presentation for the general public.
I'm sharing it because it might help other people get similar projects approved, and because I'd love to work with other institutions who might have data that would work with ours.
Ultimately, it shouldn't be about the technology, it should be about having fun and creating new insights into our Cosmos and Culture collection.
More information as it's developed at http://sciencemuseumdiscovery.com/blogs/museumdev/
Developers can use structured open data provided by museums to create new sites and apps for the general public, but can they help museums get to the point where the technology just works, data flows like water and our energy is focussed on the compelling stories museums can tell with the public?
Full text at http://openobjects.blogspot.com/2010/09/museums-meet-21st-century-opentech-2010.html
Changing contexts: museums, audiences and technologyMia
A presentation for the International Training Programme run by the British Museum for museum professionals from around the world. This is based on a presentation I prepared for OpenCulture 2011, but includes additional material on mobile phones/devices including the 'Hidden Histories' pilot.
Bringing maker culture to cultural organisationsMia
My keynote on 'Bringing maker culture to cultural organisations' for VALA2014 More background at http://openobjects.blogspot.com/2014/02/bringing-maker-culture-to-cultural.html and http://www.vala.org.au/conf2014
Abstract: Should museums, libraries and archives be places for looking at old stuff other people have made, or could they also be places where new creations are inspired and made? If making - writing, designing, building - is the deepest level of engagement with heritage and culture, how can memory institutions avoid the comforting but deadly trap of broadcasting at the public and instead create spaces for curating, creating or conversing with them?
The document describes the creation of a new children's area called the Magic Boxes at the Veria Central Public Library in Greece. The Magic Boxes were designed to create an emotionally engaging and creativity-inspiring space for children through colorful materials, distinct constructions, and flexible furniture. Since opening in 2009, the Magic Boxes have hosted around 20 activities per month and attracted nearly 5,000 elementary and primary students. Going forward, the library aims to continually renew the Magic Boxes experience through personalized activities, ubiquitous technology, and potentially transforming the entire library building into a user-centric environment divided into interactive thematic spaces.
Publishing Museum-Object-Information: It's not always easy ...museum-digital
The document discusses the experiences of museums in Saxony-Anhalt, Germany collaborating to make their collections available online. Six museums created a website called Museum-Digital to publish information on their objects. Over time, more museums participated and the site grew to include over 13,000 objects. Publishing objects online provides benefits like increasing visibility, encouraging cooperation among museums, and engaging with the public. However, it also requires resources like time, expertise and staff that many museums lack. Overall, the collaboration has helped advertise the participating museums and their collections.
MW2010: J. Doyle + M. Doyle, Mixing Social Glue with Brick and Mortar: Experi...museums and the web
The document discusses Mobeum, a mobile tour app designed for small museums to share their content and connect with visitors. It was created using the same content from Open Museum, an online participatory exhibit space. The initial goal was to use mobile tours to establish ongoing relationships between museums and visitors through social interactions around digital objects. An initial test was conducted at the Hood Museum of Art, focusing on 24 artworks. Lessons learned included that QR codes weren't ready, not all phones are equal, and balancing authoritative content with hospitality towards visitors is a challenge.
National Musesums Liverpool House of Memories is a museum-led dementia awareness programme which offers programme which offers training, access to resources and museum-based activities to enable carers to provide person-centred care for people living with dementia.
Cosmos And Culture Mashup - experimenting with new ways of publishing Science...Mia
An internal presentation I put together to get approval for a competition that will ask people to create mashed up interfaces with our collections data. We'll make object data from our collections database created for the gallery available so that people can link it with whatever interface or datasets they think will make a great presentation for the general public.
I'm sharing it because it might help other people get similar projects approved, and because I'd love to work with other institutions who might have data that would work with ours.
Ultimately, it shouldn't be about the technology, it should be about having fun and creating new insights into our Cosmos and Culture collection.
More information as it's developed at http://sciencemuseumdiscovery.com/blogs/museumdev/
Developers can use structured open data provided by museums to create new sites and apps for the general public, but can they help museums get to the point where the technology just works, data flows like water and our energy is focussed on the compelling stories museums can tell with the public?
Full text at http://openobjects.blogspot.com/2010/09/museums-meet-21st-century-opentech-2010.html
Changing contexts: museums, audiences and technologyMia
A presentation for the International Training Programme run by the British Museum for museum professionals from around the world. This is based on a presentation I prepared for OpenCulture 2011, but includes additional material on mobile phones/devices including the 'Hidden Histories' pilot.
Bringing maker culture to cultural organisationsMia
My keynote on 'Bringing maker culture to cultural organisations' for VALA2014 More background at http://openobjects.blogspot.com/2014/02/bringing-maker-culture-to-cultural.html and http://www.vala.org.au/conf2014
Abstract: Should museums, libraries and archives be places for looking at old stuff other people have made, or could they also be places where new creations are inspired and made? If making - writing, designing, building - is the deepest level of engagement with heritage and culture, how can memory institutions avoid the comforting but deadly trap of broadcasting at the public and instead create spaces for curating, creating or conversing with them?
The first museum pecha kucha night was a chance to revisit and reflect on the inspiring presentations and conversations at the 2009 Museums and the Web conference.
Scroll down the page for my notes for each slide
The document discusses how museums can better work with developers to share their digital collections and data. The speaker from the Science Museum notes that museums have large amounts of objects, images, and metadata, but can do more to make this information accessible and useful to outside users like researchers, educators and developers. Some challenges include outdated technology, poor quality data, concerns about losing control of collections, and copyright issues. However, by embracing openness and an user-centered approach, museums can become a valuable resource for teaching and learning. The speaker welcomes input from developers on how museums can better support their work in building applications and sharing content with others.
The document summarizes a seminar held by the Collections Trust on effective collections management. It introduces the aims of the seminar which are to introduce the work of the Collections Trust, share experience in collections management practice, and provide networking opportunities. It outlines the agenda which includes speakers on the work of the Arts Council England, a case study from Colchester and Ipswich Museum Service, and a museum development update. The document provides logistical information and invites participants to discuss what they want to get out of the seminar.
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.
Museum in a Box: A Case Study (with notes)George Oates
Presented to senior EU cultural figures at A Vision for European Cultural Heritage 2025, I presented Museum in a Box as a forward-thinking company trying to succeed in making the best of the current state of digital cultural heritage. (Notes included in this version).
MA conf cardiff 9 Oct 2014 museum websites online experience martin bazley ...Martin Bazley
Martin Bazley's slides used in session on museum websites at Museums Association conference in Cardiff on 9 October 2014, along with Zak Mensah and the session chair Mike Ellis
This document provides information and guidelines for participants in a workshop on developing museum exhibitions. The workshop will guide participants through a process for creating exhibit prototypes focused on interpretive content, audience, and techniques. Participants will learn a process model combining theory and practice for developing engaging exhibits. They will work in teams to brainstorm topics, develop a central idea, and create content for a prototype exhibit, which their team will present. The document reviews objectives, outcomes, and the relationship of the workshop theme to creating powerful museum experiences through collaborative teamwork.
This document provides information about the Eurodidaweb 2012 summer course from September 10-14, 2012. The course objectives are to expose participants to knowledge and competencies regarding uses of information and communication technologies globally, with a focus on new web-based learning methods. The course also aims to provide hands-on experience with web 2.0/3.0 tools and practices of international web-based learning. Throughout the week, participants will work on globally-based projects using information technologies to benefit diverse learning communities. The document discusses how the objectives will be achieved through experiential learning styles and concludes by introducing some useful web-based learning tools.
Cutting through the hype to make a confident future library and information p...Sheila Webber
This was given at the CILIP East of England ISG meeting, May 2009, in Foxton, UK. I have added some additional notes for Slideshare (mostly in boxes on the slides). It was part of a programme that was looking at what skills and knowledge library and information professionals needed to meet the needs of young people. "Cutting through the hype" (in my title) indicates that I think that we shouldn't accept steroetypes & generalisations of what generations are like.
How do collections and objects "speak" to audiences? How can museums present their collections online in ways that can be resourced and sustained at local level? Collections Australia Network national project manager Ingrid Mason used this presentation at the 2009 Museums Australia conference to discuss how museums can bring their collections to life online to engage new audiences.
The Dialogue with the Adult Visitor - OpenArch Conference, Archeon 2013EXARC
The document discusses adult education in archaeological open-air museums (AOAMs). It argues that AOAMs have a responsibility to provide educational opportunities for adults since they are financed by public money. Engaging adults can widen the audience and number of visitors. The topics discussed include learning styles, experiential learning theories, the educational potential of live interpretation and craft demonstrations, engaging returning visitors, and ensuring dialogue with visitors. Quality live interpretation focuses on visitor needs, uses authentic materials, and makes learning enjoyable through enthusiasm.
Discussion of museum studies and exhibition design techniques that can help VR designers develop educational VR experiences (presentation given at the VR in Education meetup in NYC on February 23, 2017)
Set art free and the rest will follow? Facilitation as key to successful user...Merete Sanderhoff
Talk given at 'Community Involvement in Theme Museums'
15th Conference of the Estonian Maritime Museum, Tallinn
2-3 September 2015
http://konverents.meremuuseum.ee/en/#/p/avaleht
The document announces a conference called U-Learn 2010 that will take place from October 6-8 in Christchurch, New Zealand. It provides details on the keynote speakers, themes of the conference, and schedule of events including breakout sessions on topics such as using digital cameras in lessons, social networking tools for classrooms, and making numeracy fun. Staff from the organization are encouraged to apply to attend the conference as it is an opportunity for networking and learning from other educational professionals.
This document discusses a course on moving from e-learning to web-learning. The objectives of the course are to expose participants to knowledge and competencies on uses of ICT globally, with a focus on new learning methods based on the ubiquitous worldwide web, called web-learning. Throughout the week-long course, participants will work on globally-based projects using ICT to positively impact diverse learning communities. The course will be achieved through hands-on experience with web 2.0/3.0 tools, international practices of web-learning, and critical analysis of what students are exposed to through the web.
This document provides an overview of a course called "Eurodidaweb 2012" about moving from e-learning to web-based learning. The objectives of the course are to expose participants to knowledge and competencies around uses of information and communication technologies globally, with a focus on new web-based learning methods. Throughout the week-long course, participants will work on globally-based projects using web technologies to positively impact diverse learning communities. The course will also provide hands-on experience with web 2.0/3.0 tools and practices of international web-based learning.
The document provides information about the U-Learn 2010 conference taking place from October 6-8 in Christchurch, New Zealand. It includes details about the keynote speakers, schedule of events with breakout sessions, and descriptions of some of the breakout sessions. The conference will focus on aspects of learning and leading, with delegates able to choose workshops within different themes. It provides an opportunity for staff to network with other educational professionals.
Lighting the cauldron - Young people and cultural organisationsArts Council England
Presentation slides from our 'Lighting the cauldron - Young people and cultural organisations' conference at the Museum of London, Thursday 25 October 2012.
As part of the Cultural Olympiad, Arts Council England's Stories of the World programme transformed the opportunities open to young participants and challenged museums to make lasting change to how they operate by embedding young people at the heart of their decision-making.
The conference brought together project partners, key thinkers and influencers from across the cultural sector to explore what has changed and how to take forward youth engagement and co-production. The conference explored what museums can learn from Stories of the world and how this learning can be applied to the wider cultural sector.
This document provides an overview and update on "Living with Machines", a 5-year research project exploring the impact of technology during the Industrial Revolution using digital sources and data-driven approaches. It is a collaboration between the Alan Turing Institute and British Library, funded by the UK Research and Innovation Strategic Priorities Fund. In the second year, the project shifted from proof-of-concept experiments to consolidating infrastructure for future work, while continuing to develop tools, analyze data, publish research, and engage the public through blogs, workshops and crowdsourcing activities. Upcoming activities include collaborations with public libraries and an exhibition in Leeds.
Rethink research, illuminate history with the British LibraryMia
Join Dr Mia Ridge, Digital Curator for Western Heritage Collections at the British Library, to discover how research and technology can create a richer picture of our past. Living with Machines is a collaborative project between the Alan Turing Institute, universities and the British Library – home to the world’s most comprehensive research collection. Together, they are using data science and digital history methods to analyse millions of historical documents and understand the impact of mechanisation in the 19th century. Their initial approach has focused on specific regions like Yorkshire that will help tell us the story of industrialisation in Britain.
The first museum pecha kucha night was a chance to revisit and reflect on the inspiring presentations and conversations at the 2009 Museums and the Web conference.
Scroll down the page for my notes for each slide
The document discusses how museums can better work with developers to share their digital collections and data. The speaker from the Science Museum notes that museums have large amounts of objects, images, and metadata, but can do more to make this information accessible and useful to outside users like researchers, educators and developers. Some challenges include outdated technology, poor quality data, concerns about losing control of collections, and copyright issues. However, by embracing openness and an user-centered approach, museums can become a valuable resource for teaching and learning. The speaker welcomes input from developers on how museums can better support their work in building applications and sharing content with others.
The document summarizes a seminar held by the Collections Trust on effective collections management. It introduces the aims of the seminar which are to introduce the work of the Collections Trust, share experience in collections management practice, and provide networking opportunities. It outlines the agenda which includes speakers on the work of the Arts Council England, a case study from Colchester and Ipswich Museum Service, and a museum development update. The document provides logistical information and invites participants to discuss what they want to get out of the seminar.
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.
Museum in a Box: A Case Study (with notes)George Oates
Presented to senior EU cultural figures at A Vision for European Cultural Heritage 2025, I presented Museum in a Box as a forward-thinking company trying to succeed in making the best of the current state of digital cultural heritage. (Notes included in this version).
MA conf cardiff 9 Oct 2014 museum websites online experience martin bazley ...Martin Bazley
Martin Bazley's slides used in session on museum websites at Museums Association conference in Cardiff on 9 October 2014, along with Zak Mensah and the session chair Mike Ellis
This document provides information and guidelines for participants in a workshop on developing museum exhibitions. The workshop will guide participants through a process for creating exhibit prototypes focused on interpretive content, audience, and techniques. Participants will learn a process model combining theory and practice for developing engaging exhibits. They will work in teams to brainstorm topics, develop a central idea, and create content for a prototype exhibit, which their team will present. The document reviews objectives, outcomes, and the relationship of the workshop theme to creating powerful museum experiences through collaborative teamwork.
This document provides information about the Eurodidaweb 2012 summer course from September 10-14, 2012. The course objectives are to expose participants to knowledge and competencies regarding uses of information and communication technologies globally, with a focus on new web-based learning methods. The course also aims to provide hands-on experience with web 2.0/3.0 tools and practices of international web-based learning. Throughout the week, participants will work on globally-based projects using information technologies to benefit diverse learning communities. The document discusses how the objectives will be achieved through experiential learning styles and concludes by introducing some useful web-based learning tools.
Cutting through the hype to make a confident future library and information p...Sheila Webber
This was given at the CILIP East of England ISG meeting, May 2009, in Foxton, UK. I have added some additional notes for Slideshare (mostly in boxes on the slides). It was part of a programme that was looking at what skills and knowledge library and information professionals needed to meet the needs of young people. "Cutting through the hype" (in my title) indicates that I think that we shouldn't accept steroetypes & generalisations of what generations are like.
How do collections and objects "speak" to audiences? How can museums present their collections online in ways that can be resourced and sustained at local level? Collections Australia Network national project manager Ingrid Mason used this presentation at the 2009 Museums Australia conference to discuss how museums can bring their collections to life online to engage new audiences.
The Dialogue with the Adult Visitor - OpenArch Conference, Archeon 2013EXARC
The document discusses adult education in archaeological open-air museums (AOAMs). It argues that AOAMs have a responsibility to provide educational opportunities for adults since they are financed by public money. Engaging adults can widen the audience and number of visitors. The topics discussed include learning styles, experiential learning theories, the educational potential of live interpretation and craft demonstrations, engaging returning visitors, and ensuring dialogue with visitors. Quality live interpretation focuses on visitor needs, uses authentic materials, and makes learning enjoyable through enthusiasm.
Discussion of museum studies and exhibition design techniques that can help VR designers develop educational VR experiences (presentation given at the VR in Education meetup in NYC on February 23, 2017)
Set art free and the rest will follow? Facilitation as key to successful user...Merete Sanderhoff
Talk given at 'Community Involvement in Theme Museums'
15th Conference of the Estonian Maritime Museum, Tallinn
2-3 September 2015
http://konverents.meremuuseum.ee/en/#/p/avaleht
The document announces a conference called U-Learn 2010 that will take place from October 6-8 in Christchurch, New Zealand. It provides details on the keynote speakers, themes of the conference, and schedule of events including breakout sessions on topics such as using digital cameras in lessons, social networking tools for classrooms, and making numeracy fun. Staff from the organization are encouraged to apply to attend the conference as it is an opportunity for networking and learning from other educational professionals.
This document discusses a course on moving from e-learning to web-learning. The objectives of the course are to expose participants to knowledge and competencies on uses of ICT globally, with a focus on new learning methods based on the ubiquitous worldwide web, called web-learning. Throughout the week-long course, participants will work on globally-based projects using ICT to positively impact diverse learning communities. The course will be achieved through hands-on experience with web 2.0/3.0 tools, international practices of web-learning, and critical analysis of what students are exposed to through the web.
This document provides an overview of a course called "Eurodidaweb 2012" about moving from e-learning to web-based learning. The objectives of the course are to expose participants to knowledge and competencies around uses of information and communication technologies globally, with a focus on new web-based learning methods. Throughout the week-long course, participants will work on globally-based projects using web technologies to positively impact diverse learning communities. The course will also provide hands-on experience with web 2.0/3.0 tools and practices of international web-based learning.
The document provides information about the U-Learn 2010 conference taking place from October 6-8 in Christchurch, New Zealand. It includes details about the keynote speakers, schedule of events with breakout sessions, and descriptions of some of the breakout sessions. The conference will focus on aspects of learning and leading, with delegates able to choose workshops within different themes. It provides an opportunity for staff to network with other educational professionals.
Lighting the cauldron - Young people and cultural organisationsArts Council England
Presentation slides from our 'Lighting the cauldron - Young people and cultural organisations' conference at the Museum of London, Thursday 25 October 2012.
As part of the Cultural Olympiad, Arts Council England's Stories of the World programme transformed the opportunities open to young participants and challenged museums to make lasting change to how they operate by embedding young people at the heart of their decision-making.
The conference brought together project partners, key thinkers and influencers from across the cultural sector to explore what has changed and how to take forward youth engagement and co-production. The conference explored what museums can learn from Stories of the world and how this learning can be applied to the wider cultural sector.
This document provides an overview and update on "Living with Machines", a 5-year research project exploring the impact of technology during the Industrial Revolution using digital sources and data-driven approaches. It is a collaboration between the Alan Turing Institute and British Library, funded by the UK Research and Innovation Strategic Priorities Fund. In the second year, the project shifted from proof-of-concept experiments to consolidating infrastructure for future work, while continuing to develop tools, analyze data, publish research, and engage the public through blogs, workshops and crowdsourcing activities. Upcoming activities include collaborations with public libraries and an exhibition in Leeds.
Rethink research, illuminate history with the British LibraryMia
Join Dr Mia Ridge, Digital Curator for Western Heritage Collections at the British Library, to discover how research and technology can create a richer picture of our past. Living with Machines is a collaborative project between the Alan Turing Institute, universities and the British Library – home to the world’s most comprehensive research collection. Together, they are using data science and digital history methods to analyse millions of historical documents and understand the impact of mechanisation in the 19th century. Their initial approach has focused on specific regions like Yorkshire that will help tell us the story of industrialisation in Britain.
The 'Living with machines' project is a collaboration between the British Library and the Alan Turing Institute for Data Science and Artificial Intelligence. This presentation introduces the project and highlights some early explorations and work.
Festival of Maintenance talk: Apps, microsites and collections online: innova...Mia
Talk for the Festival of Maintenance in Liverpool https://festivalofmaintenance.org.uk/ My talk notes http://www.openobjects.org.uk/2019/09/festival-of-maintenance-talk-apps-microsites-and-collections-online-innovation-and-maintenance-in-digital-cultural-heritage/
The British Library is the national library of the UK and by law receives a copy of every published work in the UK and Ireland. It has over 200 million items including books, maps, and manuscripts. The Digital Scholarship team's mission is to enable use of the Library's digital collections for research. One of its projects, Living with Machines, uses digital methods to study the effects of industrialization on ordinary lives. Challenges in operationalizing AI at the Library include copyright issues, managing large scales of data and metadata, integrating interdisciplinary work, and ensuring cultural change to support experimentation.
Hopes, dreams and reality: crowdsourcing and the democratisation of knowledge...Mia
Crowdsourcing projects have generated millions of data points through volunteer contributions of classifications, tags and other information about cultural heritage and scientific collections. However, to what extent have crowdsourcing and citizen science projects democratised knowledge about the past within 'official' collections and knowledge management systems? And how would infrastructures and policies in cultural heritage organisations need to change to allow deeper integration with knowledge captured through citizen science projects?
Infrastructural Tensions: Infrastructure, Implementation, Policies
The event is a collaboration between Digital Humanities Uppsala, Uppsala University Library, the Department of Archives, Museums and Libraries (ALM), and Uppsala Forum on Democracy, Peace and Justice.
In search of the sweet spot: infrastructure at the intersection of cultural h...Mia
A short paper for a panel on 'Data Science & Digital Humanities: new collaborations, new opportunities and new complexities' at Digital Humanities 2019, Utrecht.
Living with Machines at The Past, Present and Future of Digital Scholarship w...Mia
The document discusses the Living with Machines project, which aims to apply computational methods and digital tools to historical newspaper collections to gain new insights. It summarizes the project's goals of facilitating collaboration between data scientists, historians, and digital humanities researchers. It also provides details on the project partners and funders, the newspaper collections involved including the British Library and British Newspaper Archive, challenges around copyright and digitization, and the project's research questions and division into specialized "Labs".
Enabling digital scholarship through staff training: the British Library's ex...Mia
A talk at the DH Lab at the University of Exeter in February 2019.
The British Library's Digital Scholarship Training Programme provides colleagues with the space and support to
develop the necessary skills and knowledge to support emerging areas of modern scholarship. Their familiarity with the foundational concepts, methods and tools of digital scholarship in turn helps promote a spirit of innovation and creativity, encouraging digital initiatives within the Library and with external partners. Finally, the programme of events helps nourish and sustain an internal digital scholarship community of interest/practice.
In this talk, Digital Curator Dr. Mia Ridge will share some of the lessons the team have learnt about delivering Digital Scholarship training in a library environment since it began several years ago, and some of the challenges they still face.
A modest proposal: crowdsourcing in cultural heritage benefits us all.Mia
Crowdsourcing cultural heritage collections can help address issues of limited budgets, uncover more of the unfindable backlog, and create advocates to support organizations. It enables critical thinking by allowing curiosity through crowdsourced contributions. This helps develop historical thinking skills around change over time, causality, context, complexity, and contingency. It also puts collections in the spotlight and helps make more content findable and usable, assuming digitization can occur.
Crowdsourcing at the British Library: lessons learnt and future directionsMia
Dr. Mia Ridge presented on the British Library's crowdsourcing project to catalog over 230,000 playbills. Volunteers transcribed minimal records to extract key information like play titles, dates and theaters. Over 1,600 volunteers contributed hundreds of thousands of transcriptions. Feedback from volunteers identified errors and opportunities for improvement. Future goals include offering the platform to other researchers and addressing user experience issues to support ongoing crowdsourced work.
Crowdsourcing 'In the Spotlight' at the British LibraryMia
This document discusses crowdsourcing cultural heritage collections to engage the public and add value. It describes a project by the British Library to crowdsource transcription of playbills from 1796-1882 with minimal existing metadata. The goals are to productivity transcribe the playbills and engage participants by turning their contributions into blog posts and newsletters. There is discussion of potentially allowing outside academics and volunteers to set up new transcription tasks based on fully cataloged collections in the future.
A talk for the CILIP MMIT group at their 'The wisdom of the crowd? Crowdsourcing for information professionals' event, Heritage Quay, University of Huddersfield, March 2018
Museums+Tech conference 2017: Museums and tech in a divided world, Imperial War Museum London
Friday November 3 2017
http://museumscomputergroup.org.uk/events/museumstech-2017/
Historical thinking in crowdsourcing and citizen history projectsMia
The TL;DR version: repeated exposure and active attention to primary materials can develop some historical skills; more learning happens through observing and participating in discussion.
Presentation for Creating Historical Knowledge Socially: New Approaches, Opportunities and Epistemological Implications of Undertaking Research with Citizen Scholars
Washington DC, October 2017
Abstract: This 20-minute presentation examines the extent to which crowdsourcing and 'citizen history' projects and discussion platforms enable and encourage the practice of historical thinking. It takes the definitions of historical thinking set out by scholars and institutional bodies and the American Historical Association's 'core competencies' for students in history courses and degree programs as cues for an extensive trace-ethnographic analysis of participant discourse on crowdsourcing and digital community history platforms. This analysis found evidence for the development of historical thinking, situated learning and collective knowledge creation through participation in online communities of practice. Crowdsourcing project forums support many of the behaviours considered typical of communities of practice, including problem solving, requests for information, seeking the experience of past behaviours, coordinating actions, documenting shared knowledge and experiences, and discussing developments. This paper draws on research undertaken for my 2015 PhD, Making digital history: The impact of digitality on public participation and scholarly practices in historical research, in which I explored the ways in which some crowdsourcing projects encourage deeper engagement with history or science, and the role of communities of practice in citizen history.
Cross-sector collaboration for digital museum and library projectsMia
I provide some examples of cross-sector collaboration from the UK, and include some examples of different models for international collaboration. Invited presentation for the Chinese Association of Museums, Taipei, Taiwan, August 2017
Connected heritage: How should Cultural Institutions Open and Connect Data?Mia
Keynote for the International Digital Culture Forum 2017, Taichung, Taiwan, August 2017
I approach the question by describing the mechanisms organisations have used to open and connect data, then I look at some of the positive outcomes that resulted from their actions. This is not a technical talk about different acronyms, it's about connecting people to our shared heritage.
Wish upon a star: making crowdsourcing in cultural heritage a realityMia
Keynote for the Digikult 2017 conference. The success of crowdsourcing projects that have transcribed, categorised, linked and researched millions of cultural heritage and scientific records has inspired others to try it their own organisations. We can look to 'star' projects for ideas, but what it's really like to run a crowdsourcing project?
The Digital Research Team at the British Library supports innovative use of the Library's digital collections through training, projects, and events. They work with computational methods like text mining, data visualization, and geotagging. Unique projects include digitizing manuscripts, newspapers, and creating tools to analyze trends in areas like the history of music. Researchers can access digitized collections and datasets or collaborate with the team on new digital scholarship.
This document summarizes a presentation on data visualization. It introduces data visualization and its uses for exploring data, explaining results, and distant reading. It discusses the building blocks of visualization like charts, networks, and visualizing different data types. It explores some scholarly visualizations and exercises critiquing them. It also covers extracting data from text, images and video using computational methods, and preparing messy humanities data for visualization, including dealing with uncertainty. The presentation emphasizes choosing visualizations based on purpose, data, audience and structure. It recommends tools for creating simple visualizations like Viewshare that don't require programming.
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
Traditional Musical Instruments of Arunachal Pradesh and Uttar Pradesh - RAYH...
Museum Pecha Kucha, Melbourne
1. Bubbles, icebergs and Easter eggs
• Hello Melbourne!
• I’m Mia
• I work for the (UK) Science Museum
• Twitter @mia_out with comments or questions
• http://openobjects.org.uk – my blog on digital
heritage, blah blah blah
• [Slideshare version - notes in the text below]
Presumably I’ll think of all the things I should hav e said immediately after I get off the stage, so I’ll update my notes and put them on slideshare/my blog (http://openobjects.blogspot.com/) later.
Normally I have to explain that I have an accent or face puzzled expressions – it’s ace being home in Melbourne because I don’t have an accent here.
In this talk I’m thinking through way s to take the energy and sense of community created at events like Museums and the Web 2009, and using it to change the world f or the better. Ov er several years in the cultural heritage sector, I’ve learned that museums need organisational change before we can really serve our audiences in a participatory world.
I think museums can change liv es – but does the public see the good we do?
Museums should be about delight, serendipity and answers that provoke more questions. Museums should also be committed to accessibility , transparency, curation, respecting and enabling expertise and sharing the excitement and joy of learning
[The Melbourne pecha kucha was organising on Museum 3.0 (http://museum30.ning.com/forum/topics/anyone-up-for-a-museum-30) and held on July 16, 2009 at the Australian Centre for the Mov ing Image (http://museum30.ning.com/ev ents/museum-30-meetup-in-melbourne)]
Presumably I’ll think of all the things I should have said immediately after I get off
the stage, so I’ll update my notes and put them on slideshare/my blog
(http://openobjects.blogspot.com/) later.
Normally I have to explain that I have an accent or face puzzled expressions – it’s
ace being home in Melbourne because I don’t have an accent here.
In this talk I’m thinking through ways to take the energy and sense of community
created at events like Museums and the Web 2009, and using it to change the
world for the better. Over several years in the cultural heritage sector, I’ve
learned that museums need organisational change before we can really serve our
audiences in a participatory world.
I think museums can change lives – but does the public see the good we do?
Museums should be about delight, serendipity and answers that provoke more
questions. Museums should also be committed to accessibility, transparency,
curation, respecting and enabling expertise and sharing the excitement and joy of
learning
[The Melbourne pecha kucha was organised on Museum 3.0
(http://museum30.ning.com/forum/topics/anyone-up-for-a-museum-30) and held
on July 16, 2009 at the Australian Centre for the Moving Image
(http://museum30.ning.com/events/museum-30-meetup-in-melbourne)]
1
2. Why am I here today?
Why am I here? Cos I’m a museum geek who can’t
take a holiday.
It’s worth trying to keep the momentum going and to
share insights from Museums and the Web 2009
(MW2009).
I’m here to suggest challenges to museums and to
museum geeks; to do something with those bubbles
of excitement that whirl through your head after so
many good conversations and discoveries.
We can have lots of fun getting over-excited and
solving the problems of the world in conversations
at our museum geek events but what really
changes?
2
3. double it up
museum
museum specialists technology specialists
technologists
Museum technologists are not merely passive participants in the online publication process. We
have skills, expertise and experience that profoundly shape the delivery of services. In Jacob
Nielsen's terms, we are double domain experts. This brings responsibilities on two fronts – for us,
and for the museums that employ us.
[Since I’m in Melbourne, a city with proper ice cream, I should have made this from two
overlapping balls of gelati. Mmm, icecream.]
Museum technologists are not merely passive participants in the online
publication process. We have skills, expertise and experience that profoundly
shape the delivery of services. In Jacob Nielsen's terms, we are double
domain experts. This brings responsibilities on two fronts – for us, and for
the museums that employ us.
[Since I’m in Melbourne, a city with proper ice cream, I should have made this
from two overlapping balls of gelati. Mmm, icecream.]
3
4. Don’t overlook museum geeks
A call to arms for 2009. Museums should recognise
museum technologists as double domain experts. Don’t
bury us like Easter eggs in software/hidden pockets of the
garden. There’s a lot of expertise in your museum, if you
just look. We can save you from mistakes you don't even
know you're making. Respect our expertise - anyone can
have an opinion about the web but a little knowledge is
easily pushed too far. Don’t wait for an external expert to
tell you what to do – ask your staff. Validate with research
and peer opinions if necessary but take advantage of your
local expertise first. I’ll mention some possible ways to
connect staff...
A call to arms for 2009. Museums should recognise museum technologists as
double domain experts. Don’t bury us like Easter eggs in software/hidden
pockets of the garden. There’s a lot of expertise in your museum, if you just look.
We can save you from mistakes you don't even know you're making. Respect
our expertise - anyone can have an opinion about the web but a little knowledge
is easily pushed too far. Don’t wait for an external expert to tell you what to do –
ask your staff. Validate with research and peer opinions if necessary but take
advantage of your local expertise first. I’ll mention some possible ways to
connect staff...
4
5. Museum technologists have
responsibilities too
cherish the epiphany
For the museum geeks – don’t let recognition as a double domain expert make you arrogant or a ‘know it all’. Be humble. Listen. Look for the moment of epiphany – yours from conv ersation with others, for others f rom conv ersation with y ou; f rom every one in talking to users. Helping people reach that moment of epiphany is a priv ilege and we should cherish it.
We need to take advantage of the knowledge and research of others. Yes, we have lots of expertise but we need to constantly ground that by checking back with our audiences and internal stakeholders. We also need to listen to concerns and consider them seriously; to acknowledge and respect their challenges and fears.
For the museum geeks – don’t let recognition as a double domain expert make
you arrogant or a ‘know it all’. Be humble. Listen. Look for the moment of
epiphany – yours from conversation with others, for others from conversation
with you; from everyone in talking to users. Helping people reach that
moment of epiphany is a privilege and we should cherish it.
We need to take advantage of the knowledge and research of others. Yes, we
have lots of expertise but we need to constantly ground that by checking back
with our audiences and internal stakeholders. We also need to listen to
concerns and consider them seriously; to acknowledge and respect their
challenges and fears.
5
6. Museums are full of silos
break them down
We need to break out of the bubble that tech jargon creates or we’ll nev er make any progress. Share your excitement. Explain how a new technology or project will benef it staff and audiences, show them why it's exciting.
We must respect the intelligence of others we work with, and consider it part of our job to talk to them in language they understand. We need to bring them with us instead of try ing to drag them along.
Show, don’t tell.
Don’t be afraid to call in peers to help with examples, moral support and documentation. Online networks are really helpful for this; local meetups are a great way to share metaphors and examples that have worked in your institutions.
We need to break out of the bubble that tech jargon creates or we’ll never make
any progress. Share your excitement. Explain how a new technology or
project will benefit staff and audiences, show them why it's exciting.
We must respect the intelligence of others we work with, and consider it part of
our job to talk to them in language they understand. We need to bring them
with us instead of trying to drag them along.
Show, don’t tell.
Don’t be afraid to call in peers to help with examples, moral support and
documentation. Online networks are really helpful for this; local meetups are
a great way to share metaphors and examples that have worked in your
institutions.
6
7. Rethink project design:
pitch the goal, not the method
“The coolest thing to be done with your data
will be thought of by someone else”
Projects are broken f rom the start if they 're built for the wrong metrics.
Pitch the goal, not the method.
Start with what's useful, what's measurable; build in different metrics for different people. Move f rom box ticking to asking 'what's the real benefit for the public?'.
Projects and project metrics should be primarily driv en by audience needs, not internal politics or concerns.
Do one thing – share ideas for better metrics
Going back to the double domain expertise - to design projects to benefit audiences f rom the ground up, you need to inv olve museum technologists at early planning stages of projects, and to value their expertise. In an ideal world, the conversation would start before the project proposal has been written, before the ov erall goals of the project, audiences, key messages, etc hav e been set. The most obv ious solution might not be the best, or the solutions suggested might not be taking advantage of improvements in technology and development methods.
Projects are broken from the start if they're built for the wrong metrics.
Pitch the goal, not the method.
Start with what's useful, what's measurable; build in different metrics for different
people. Move from box ticking to asking 'what's the real benefit for the
public?'.
Projects and project metrics should be primarily driven by audience needs, not
internal politics or concerns.
Do one thing – share ideas for better metrics
Going back to the double domain expertise - to design projects to benefit
audiences from the ground up, you need to involve museum technologists at
early planning stages of projects, and to value their expertise. In an ideal
world, the conversation would start before the project proposal has been
written, before the overall goals of the project, audiences, key messages, etc
have been set. The most obvious solution might not be the best, or the
solutions suggested might not be taking advantage of improvements in
technology and development methods.
7
8. Hello, reality: first questions for digital projects
What will it do for our audiences?
How can content be re-used?
Which existing technologies can
we use?
How can infrastructure and
resources be re-used?
How can we share our reflections
on the lessons learned?
What happens afterwards?
If you don’t have good answers to
these questions, why are you
proposing this project?
Do one thing - this is a random f irst go f rom me - please critique, expand, share them.
Other possible questions – should this really be a website/technology -led project? Your place (website) or mine?
Do one thing - this is a random first go from me - please critique, expand, share
them.
Other possible questions – should this really be a website/technology-led project?
Your place (website) or mine?
8
9. Whole museum view
What kind of interaction is appropriate for
your
context and technology
audiences
goals?
What organisational resources need to be in
place to support true engagement?
Where else will your audience interact with
this content?
Take a v iew over the whole offering of your museum - online and in the galleries, through social media, marketing, media cov erage... Work to the strengths of the phy sical and online museum, with a good knowledge of how the user journey flows between them and how each can f ill the gaps of the other.
This requires organisational change – if you don’t push for it, who will?
Take a view over the whole offering of your museum - online and in the galleries,
through social media, marketing, media coverage... Work to the strengths of the
physical and online museum, with a good knowledge of how the user journey
flows between them and how each can fill the gaps of the other.
This requires organisational change – if you don’t push for it, who will?
9
10. The Louvre is an iceberg
(so is your museum)
Most of our content, research, staff, collections, objects, work, inv estment is hidden. Visitors only see the tiny tip of the iceberg.
Show y our audiences all the good stuff that happens behind the scenes. You can only f it so many people on a storeroom tour, but the web has unlimited capacity
Now is a good time for transparency – turn v isitors into supporters, and supporters into adv ocates. It’s a natural fit for social media.
A topical bit: the National Portrait Gallery (NPG)/Wikimedia (WMF ) f uss ov er someone collating and publishing high res images prov es we really need to tell the public why we make the decisions we make – and to be honest about which decisions are out of our hands, or require a fundamental organisational restructure. Commercial serv ices like picture libraries are important in museums – they trump geek optimism or enthusiasm about The Right Thing to do with our stuff.
Most of our content, research, staff, collections, objects, work, investment is
hidden. Visitors only see the tiny tip of the iceberg.
Show your audiences all the good stuff that happens behind the scenes. You
can only fit so many people on a storeroom tour, but the web has unlimited
capacity
Now is a good time for transparency – turn visitors into supporters, and
supporters into advocates. It’s a natural fit for social media.
A topical bit: the National Portrait Gallery (NPG)/Wikimedia (WMF) fuss over
someone collating and publishing high res images proves we really need to tell
the public why we make the decisions we make – and to be honest about which
decisions are out of our hands, or require a fundamental organisational
restructure. Commercial services like picture libraries are important in museums
– they trump what can be seen as naive geek optimism or enthusiasm about The
Right Thing to do with our stuff.
10
11. Who’s already talking to your
audiences?
Who’s actually listening to your
audiences?
Explainers, attendants, f ront of house, educators, social media people are talking to your audiences.
Lucky them! They get to hear great stories, questions, challenges, suggestions, facts.
But do those conversations f ind their way back into the organisation or do they stay in a bubble?
How are you asking audiences to participate?
comment
conversation
challenge
contribute
create
Does y our organisation really want to open up to interaction or is it lip serv ice?
Topical bit: what are we telling our audiences? Are we just telling them marketing stuff? Should we use social media to tell them about the struggles we face as institutions, even if it means dobbing ourselves in a bit? We need to pop the bubbles between museums and the public; in the absence of information, people will make assumptions that f it their prejudices.
Explainers, attendants, front of house, educators, social media people are talking
to your audiences.
Lucky them! They get to hear great stories, questions, challenges, suggestions,
facts.
But do those conversations find their way back into the organisation or do they
stay in a bubble?
How are you asking audiences to participate?
comment
conversation
challenge
contribute
create
Does your organisation really want to open up to interaction or is it lip service?
Topical bit: what are we telling our audiences? Are we just telling them marketing
stuff? Should we use social media to tell them about the struggles we face as
institutions, even if it means dobbing ourselves in a bit? We need to pop the
bubbles between museums and the public; in the absence of information, people
will make assumptions that fit their prejudices.
11
12. Talk to the public
We need to talk to the public, because other people are currently talking for us. We don’t need to be an apologist for the practices of our sector but we should be aware of the impact of these conversations. Positions are becoming entrenched on either side, and museum technologists are in a good position to translate the concerns, intrinsic preferences and goals for each side in the NPG/WMF situation. We risk f inding ourselves in the difficult position of being seen as ‘the enemy ’ by both sides in which case no-one will listen to us and we’ll all take twenty steps backwards.
http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2009/jul/09/museums-internet-future
http://www.guardian.co.uk/artanddesign/2009/jul/08/museums-future-lies-online
http://y ro.slashdot.org/story/09/07/11/1239244/UKs-National-Portrait-Gallery -Threatens-To-Sue-Wikipedia-User?f rom=rss
We need to talk to the public, because other people are currently talking for us.
We don’t need to be an apologist for the practices of our sector but we should be
aware of the impact of these conversations. Positions are becoming entrenched
on either side, and museum technologists are in a good position to translate the
concerns, intrinsic preferences and goals for each side in the NPG/WMF
situation. We risk finding ourselves in the difficult position of being seen as ‘the
enemy’ by both sides in which case no-one will listen to us and we’ll all take
twenty steps backwards.
http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2009/jul/09/museums-
internet-future
http://www.guardian.co.uk/artanddesign/2009/jul/08/museums-future-lies-online
http://yro.slashdot.org/story/09/07/11/1239244/UKs-National-Portrait-Gallery-
Threatens-To-Sue-Wikipedia-User?from=rss
12
13. Innovation bubbles
• Innovation is happening throughout your
organisation
• Do you know where?
• What are you doing to encourage it?
One of the big quietly underly ing themes of MW2009 was organisational change... This period of technological maturity (and a recession) is a good chance to stop and reflect on the problems technology can’t solv e.
Address the ty pical museum problem where the right hand doesn’t know what the left hand is doing – sort out internal communication.
Use internal communicatino to reality check projects, re-discov er existing inf rastructure, processes, content
Involv e inter-disciplinary teams f rom the start of project planning and design (remember the double domain experts).
Making tech people active partners in exhibition and digital project design means better integration of gallery and online audience experiences
One of the big quietly underlying themes of MW2009 was organisational
change... This period of technological maturity (and a recession) is a good
chance to stop and reflect on the problems technology can’t solve.
Address the typical museum problem where the right hand doesn’t know what the
left hand is doing – sort out internal communication.
Use internal communicatino to reality check projects, re-discover existing
infrastructure, processes, content
Involve inter-disciplinary teams from the start of project planning and design
(remember the double domain experts).
Making tech people active partners in exhibition and digital project design means
better integration of gallery and online audience experiences
13
14. (s)mash the system – hold a
mashup day in your museum
• Pop internal bubbles - invite tech, curatorial,
front of house, learning staff
• Rediscover how smart, passionate and
innovative your staff can be
• Generate new ideas, community
• Bonus informal audit of organisational
infrastructure, processes, content, re-use rights
• Mashup departments - split teams for the day
• Encourage staff to report back to their peers
outside your organisation
Hold a mashup day in y our museum.
Make space for innov ation, and send the message that it’s valued.
Make sure y ou ‘pop the bubbles’ still so that people don’t regroup around departmental or team lines
Hold a mashup day in your museum.
Make space for innovation, and send the message that it’s valued.
Make sure you ‘pop the bubbles’ still so that people don’t regroup around
departmental or team lines
14
15. Too hard?
• Try an unconference
• Hold informal ‘brown bag’ lunches to
share ideas and solutions - find an
empty meeting room, everyone brings
their lunch and shares their ideas
Unconference - people get up and pitch ideas, issues for discussion in informal breakout groups.
Do whatev er y ou can - do your ‘one thing’, and report on it. Encourage others to do the same.
It might not work - but y ou’ll never know if y ou don’t try .
Unconference - people get up and pitch ideas, issues for discussion in informal
breakout groups.
Do whatever you can - do your ‘one thing’, and report on it. Encourage others to
do the same.
It might not work - but you’ll never know if you don’t try.
15
16. Intelligent failure
• There was a great unconference session at MW2009 about ‘intelligent failure’ (http://openobjects.blogspot.com/2009/04/oh-noes-f ail-notes-f rom-unconference.html)
• To be more successful, we need to get better at failure. Constructiv e critiques that respect the bravery of people who make efforts towards transparency.
• Do one thing – think about what y ou could add to the MCN project registry with an insightful ref lection on the large or small failures of the project (http://musetechcentral.org/)
• Do one thing – before posting a response about someone else’s project, ask yourself – how would I feel if that remark was addressed to me or my project?
There was a great unconference session at MW2009 about ‘intelligent failure’
(http://openobjects.blogspot.com/2009/04/oh-noes-fail-notes-from-
unconference.html)
To be more successful, we need to get better at failure. We need constructive
critiques that respect the bravery of people who make efforts towards
transparency.
It’s a step towards working together and supporting each other in breaking down
barriers between technologists and other museum staff.
Do one thing – think about what you could add to the MCN project registry with
an insightful reflection on the large or small failures of the project
(http://musetechcentral.org/)
Do one thing – before posting a response about someone else’s project, ask
yourself – how would I feel if that remark was addressed to me or my project?
16
17. The Cosmos & Culture
mashup competition
‘celebrate cutting-edge astronomical
technology alongside stunning objects
from our world-class historical
collections’
We can’t afford to build interfaces to meet every need – but we don’t need to if we make it possible for others to build interf aces with us
We’re taking a risk but ‘Fail faster to succeed sooner’ – learn f rom intelligent failure
Dealing with the challenges: re-thinking the museum microsite; being brav e about engagement with the public; making internal data av ailable to the public and asking them to re-mix it
Interesting challenges for project design, management, metrics
Experiment with new way s of making objects available v ia the web
Experiment with new way s of attracting user-generated content
Experiment with new forms of audience participation
Make best use of the limited budget and staff time to get the highest impact web presence for Cosmos & Culture
Take adv antage of inf rastructure built for prev ious projects – demonstrate benef its internally
I’v e put my slides f rom the internal presentation I made at the Science Museum online at http://www.slideshare.net/miaridge/cosmos-and-culture-mashup
If you’v e got digitised or digital data relating to astronomy, I’d love to talk to y ou about how we might be able to work together.
http://bit.ly/1ODvVT
We can’t afford to build interfaces to meet every need – but we don’t need to if
we make it possible for others to build interfaces with us
We’re taking a risk but ‘Fail faster to succeed sooner’ – learn from intelligent
failure
Dealing with the challenges: re-thinking the museum microsite; being brave about
engagement with the public; making internal data available to the public and
asking them to re-mix it
Interesting challenges for project design, management, metrics
Experiment with new ways of making objects available via the web
Experiment with new ways of attracting user-generated content
Experiment with new forms of audience participation
Make best use of the limited budget and staff time to get the highest impact web
presence for Cosmos & Culture
Take advantage of infrastructure built for previous projects – demonstrate
benefits internally
I’ve put my slides from the internal presentation I made at the Science Museum
online at http://www.slideshare.net/miaridge/cosmos-and-culture-mashup
If you’ve got digitised or digital data relating to astronomy, I’d love to talk to you
about how we might be able to work together. 17
18. Your audience lives in 2009
What year is it in your museum?
The web has changed our audiences and changed their
expectations about content and interactivity: mash-up,
re-use, re-mix
• “The ten most heavily used web brands account for
45% of total UK internet time.
Facebook is the most heavily used web brand, accounting
for 13 percent of all UK Internet time – or one in every
eight minutes
Communication and entertainment are central themes
amongst most heavily used web brands”
http://www.nielsen-online.com/pr/pr_090513_UK.pdf
http://www.nielsen-
Your audience lives in 2009. What y ear is it in your museum?
Audience expectations have changed. We liv e in a post-spin, post-modern, deconstructed world. We might think our audiences are accessing our content f rom a cathedral-like space similar to a dedicated gallery - but they ’re not in the cathedral, they ’re in the bazaar, and we’re just one of a million things to look at or experience.
We need to trust our audiences to understand context, authority, lev els of interpretation. We can help educate them about this, but we also need to be open to learning f rom (and with) them.
Your audience lives in 2009. What year is it in your museum?
Audience expectations have changed. We live in a post-spin, post-modern,
deconstructed world. We might think our audiences are accessing our content
from a cathedral-like space similar to a dedicated gallery - but they’re not in the
cathedral, they’re in the bazaar, and we’re just one of a million things to look at or
experience.
We need to trust our audiences to understand context, authority, levels of
interpretation. We can help educate them about this, but we also need to be
open to learning from (and with) them.
18
19. A challenge
Has the web
fundamentally
changed your
museum?
(Why not?)
I don’t know if I need 20 seconds for this one, you’re either squirming in y our seat or y ou’re not.
Turn your analytic gaze inwards. It’s time for a maturity of approaches to the web. Work towards more effective, integrated and considered use of technology. This brings new challenges for us, but the benefits of collaboration and ref lection are worth it.
I don’t know if I need 20 seconds for this one, you’re either squirming in your seat
or you’re not.
Turn your analytic gaze inwards. It’s time for a maturity of approaches to the
web. Work towards more effective, integrated and considered use of technology.
This brings new challenges for us, but the benefits of collaboration and reflection
are worth it.
19
20. Thank you for listening
"The real voyage of discovery consists not in
seeking new landscapes but in having new
eyes" Marcel Proust
Slide credits:
• http://flickr.com/photos/ncindc/2746241750/ (Museum building)
• http://flickr.com/photos/phploveme/2679669420/ (Instrument case)
• http://en.wikipedia.org/wiki/File:LondonScienceMuseumsReplicaDifferenceEngine.jpg
(Replica Difference Engine)
• http://flickr.com/photos/dsevilla/129592677/ (Curiosity)
• http://flickr.com/photos/zoomzoom/304135268/ (Silos)
• http://www.flickr.com/photos/17269317@N02/1819837194/ (Iceberg)
• http://www.flickr.com/photos/batigolix/3332091893/ (Louvre)
• http://www.flickr.com/photos/foxrosser/2472176282/ (bubble)
• http://www.flickr.com/photos/manchesterlibrary/3402333202/ (brown bag lunch)
• If not in the list, http://flickr.com/photos/_mia/
Lots of the images were taken in Indianapolis during the 2009 Museums and the
Web conference. Warning: content does not include the spinny bar.
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