New Media, Technology, and Museums: Who’s in Charge? - Jeff Tancil (FINAL)
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The document discusses the role of web development at the Tenement Museum in New York City. It describes how the museum hired a "web guy" to capitalize on technology opportunities and liaise with different departments. It provides case studies of virtual tours and digital projects created that expanded the museum's online audience and applications of technology. It notes both pros and cons, and how the web guy's role shifted from leading projects to an advisory consultant role.
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Aam May2009
The document discusses the role of web development at the Tenement Museum in New York City. It describes how the museum hired a "web guy" to capitalize on technology opportunities and collaborate across departments to create an online virtual tour and digital art projects exploring immigration themes. While the web projects were popular and expanded the audience, having one person fill both the web and IT roles became challenging. The museum later shifted to focusing on smaller web updates and using the web more for marketing, and the web role moved from an internal department to an external consultant role.
New Media, Technology, and Museums: Who’s in Charge? - Jeff Tancil
The document discusses the Tenement Museum's use of web development and digital strategies over time. It describes how the museum hired a "web guy" to capitalize on technology opportunities and collaborate across departments on projects like a virtual tour and digital art projects. While these initiatives were popular and mission-driven, having one person fill both web and IT roles became challenging. The museum later shifted to focus web efforts on marketing and making collections available online, though some projects lacked clear leadership. Ultimately, the web role moved to occasional consultation as the museum prioritized other areas with its resources.
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Why Isn’t Every Museum Like the Rijksmuseum?
Helen Casey, University of Hertfordshire
he Rijksmuseum in Amsterdam claimed great success with its 2012 ‘Rijksstudio’, an app-like website allowing online visitors to curate, download and adapt its out-of-copyright artworks.
This approach to sharing heritage – opening it up to previously unreached audiences and allowing them to enjoy it freely and on their own terms – is something that was predicted by academics and practitioners writing in the early days of the internet (1997-2003). But, two decades later, the Rijksmuseum’s approach is still the exception rather than the rule, so why have so few cultural heritage organisations opened up their collections fully in this way? In this paper, I take the point of view of the practitioner, examining the day-to-day pressures and policies that may have created barriers to digitisation. By examining grey literature, mainly policy documents, I theorise that digitisation has proved challenging due to a ‘perfect storm’ of pressures from policymakers, external funding bodies and the costs and complexities of digitisation itself.
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Aam May2009
The document discusses the role of web development at the Tenement Museum in New York City. It describes how the museum hired a "web guy" to capitalize on technology opportunities and collaborate across departments to create an online virtual tour and digital art projects exploring immigration themes. While the web projects were popular and expanded the audience, having one person fill both the web and IT roles became challenging. The museum later shifted to focusing on smaller web updates and using the web more for marketing, and the web role moved from an internal department to an external consultant role.
New Media, Technology, and Museums: Who’s in Charge? - Jeff Tancil
The document discusses the Tenement Museum's use of web development and digital strategies over time. It describes how the museum hired a "web guy" to capitalize on technology opportunities and collaborate across departments on projects like a virtual tour and digital art projects. While these initiatives were popular and mission-driven, having one person fill both web and IT roles became challenging. The museum later shifted to focus web efforts on marketing and making collections available online, though some projects lacked clear leadership. Ultimately, the web role moved to occasional consultation as the museum prioritized other areas with its resources.
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This document discusses strategic approaches for museums to engage digital audiences through content, conversation, and audience engagement. It provides three case studies from the Nordic Museum in Stockholm of engaging young audiences through an online cosplay competition, collecting social media photos through sponsored posts for an #openstockholm project, and collecting content related to the #metoo movement through online dialog and interviews. The key lessons are that museums must create great online content, engage in conversations on social media in an authentic way, support sustainable conversation through high quality content, allow time for experimentation, use cross-departmental teams, and see the museum experience as digital-first and an ecosystem beyond just exhibitions.
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This document summarizes a presentation on clusters and the road ahead for cluster managers. It begins with an overview of cluster development over time, from early specialized advisory boards to more general relationships and collaboration. It then discusses three new challenges for cluster managers: dealing with diversity in clusters, dealing with uncertainties in an era of permanent change, and dealing with new dimensions as business becomes more digital. Finally, it advertises upcoming conference sessions that will provide more information on managing these new challenges.
Why Isn’t Every Museum Like the Rijksmuseum?
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he Rijksmuseum in Amsterdam claimed great success with its 2012 ‘Rijksstudio’, an app-like website allowing online visitors to curate, download and adapt its out-of-copyright artworks.
This approach to sharing heritage – opening it up to previously unreached audiences and allowing them to enjoy it freely and on their own terms – is something that was predicted by academics and practitioners writing in the early days of the internet (1997-2003). But, two decades later, the Rijksmuseum’s approach is still the exception rather than the rule, so why have so few cultural heritage organisations opened up their collections fully in this way? In this paper, I take the point of view of the practitioner, examining the day-to-day pressures and policies that may have created barriers to digitisation. By examining grey literature, mainly policy documents, I theorise that digitisation has proved challenging due to a ‘perfect storm’ of pressures from policymakers, external funding bodies and the costs and complexities of digitisation itself.
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2) Key projects include an interactive children's library with installations for browsing and selecting books, a "time music machine" and treasure hunts to encourage family play at libraries.
3) The goal is to research how new play concepts and interactive spaces can better support families and engage children at libraries by intertwining services, play, and exploration of physical and digital resources.
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Имея более 20 лет опыта работы на управляющих должностях в различных отраслях, включая финансовые услуги и производство, Алан Милц приобрел репутацию руководителя высшего уровня, ориентированного на нахождение решений любых задач. Основываясь на анализе критически важных показателей бизнеса, Алан особенно искусен в выявлении недостатков и потенциальных возможностей, выработке стратегий и внедрении соответствующих инновационных и экономически эффективных решений.
Как директор-основатель Inmatrix, разработал методики финансового анализа, которые стали международными стандартами для компаний, бухгалтерских фирм и банков. Эти методики используются в 22 странах более чем 20 тыс. клиентов и ведущими банками, включая NAB, ANZ, Commonwealth Bank, Westpac, Bangkok Bank, Maybank и Royal Bank of Canada. Также разработал более 200 бизнес планов для крупный акционерных компаний и частных фирм.
Регулярно выступает на форумах и обучающих программах для руководителей во всем мире. В течение своей карьеры Алан участвовал в управлении на всех уровнях и в различных направлениях, что позволяет ему вносить свой ценный вклад в развитие любой организации.
Краткая биография:
Родился в Южной Африке, в 1984 году окончил University of Cape Town и начал карьеру, работая бухгалтером. В 1988 году переехал в Австралию, где работал на компанию Esprit, затем в качестве правительственного консультанта участвовал в реструктуризации национального рынка одежды и обуви. В 1997 году основал компанию Inmatrix, разработавшую собственную методику финансового анализа и аналитический программный продукт Optimist, который используют более 50% банков, имеющих рейтинг AA. Параллельно с работой в Inmatrix является управляющим директором компании Pearl Finance, которая помогла своим клиентам привлечь заемные средства на общую сумму более $1,4 млрд.
http://www.mybiz.ru/alan-miltz/program.html
inOrbit 2015: Večkanalni marketing
Ciljanje kupcev preko več kanalov. Če bi imeli samo en kanal, se investicija v marketing ne bi obrestovala.
Niso vsi kupci enako dobri. Razviti je potrebno dolgoročni odnos s kupci.
Brand butler
Brand butler je koncept, ki temelji na pomoči potrošnikom pri uživanju v njihovem življenju. Gradi na tem, da potrošniku pomagamo zaživeti njegove sanje, ne naše.
Brand butler je koncept, ki ponuja več kot zgolj vključevanje potrošnika v blagovno znamko. Potrošniku ponuja nekaj uporabnega in koristnega. To se navezuje tako na informacije kot na storitve, ki jih ponujamo potrošniku.
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- 1. Web Development: Within the Museum and Beyond
- 2. Case Study: The Tenement Museum Stories of immigrants who lived in typical, 19 th Century tenement. Narrative, accessible approach to historic house Museum. 2008 “brick and mortar” visitors: 120,000 2008 “virtual visitors”: 500,000
- 3. Tenement Museum: Why a web guy? Capitalize on tech and funding opportunities. Liaise with, and bring knowledge to, various departments. Double as “IT guy” Report to Vice President.
- 4. The Web Guy… or
- 5. Case Study: A Virtual Tour Inter-departmental collaboration: education, curatorial and “web guy”. Web guy worked on content, interface and coding. Almost as popular as Virtual Tour of Graceland Useful to various audiences, including classroom.
- 9. Case Study: IOTME Bring collections online. Inter-departmental... … but no clear leader and no involvement of Education. And perhaps too involved/expensive.