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From Closed Silos to Collaborative
Networks: Digital Impacts on Museums
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DISH 2011                          Rotterdam, NL                                                      December 7, 2011
Let‘s DISH:


 ―Rapid digitisation is the defining trend in today‘s
 society. The public expects their institutions to be
 as active on the Internet as they are.‖


              ―How do you equip yourself for these new
              roles, that demand new functions and
              new competencies in your
              organisation?‖
                       -from the DISH 2011 Call for Entries
And equally importantly:




  How do we use the digital as an agent
  of change in how we relate to our
  publics?


        Multiplying modes, venues, voices…
The Conversation began a while ago…




                        1984


          Early digital storytelling tool…
And it has expanded & accelerated ever since.
From Closed Silos to Collaborative Networks: Digital Impacts on Museums
From Closed Silos to Collaborative Networks: Digital Impacts on Museums
We conducted an un-scientific survey.
Attendees at the Museum Computer Network conference:

•   Museum director
•   Web Editor
•   Exhibit Developer
•   IT Systems Analyst
•   Curator
•   Marketing & Communications Officer
•   Education
•   New Media Initiatives
•   Visitor Services
•   Publications Associate
Question: Do you see digital publishing platforms
changing the organization’s structure?

• Pool of content creators has increased dramatically.
• New kinds of workflows, less hierarchies.
• New functional organisation, new positions, new
  relationships between departments (more intensive
  collaboration, publication planning on a longer term, trend of
  digital content co-production).
• The way we conceive of transmitting information
  has changed.
• The need for dedicated digital content staff is
  apparent and overdue.
• and…
Question: Do you see digital publishing platforms
changing the organization’s structure?




      ―Not sure it will happen, but

      there is a lot of
      pressure.”
Question: If multiple departments self-publish, what are
the impacts, if any, on institutional voice?


• It is appropriately diverse.
• Quality of content & writing is impacted…
• Not sure I believe in ‗institutional voice‘. I don‘t
  think this is important anymore. So I think the
  impact is that this concept itself is going away.
• Subject matter is often at odds with institutional
  goals.
• What institutional voice? (That was a joke.)
Question: Do you see digital media as a democratizing
force in your organization? If so, how?

• Yes, digital media is less controlled by curators and
  is deeper rooted in the organization.
• It certainly broadens the pool of people who get to
  be custodians of the Museum‘s mission…
• Yes, relatively young, junior staff are taking on
  more responsibility for being the institution‘s voice
  and our audiences are also part of our brand now.
• Yes, in that younger staff members who are not part
  of the curatorial staff have a way to contribute
  stories and content via the blog or social media,
  whereas 10 years ago these staff would have had no
  voice.
Case Studies
A partial Timeline




2005: Building renovated/technology refresh.
2007: Website relaunch.
2009: IMA Lab founded.
2010: Website re-relaunch, with a difference:
Designed & built in-house.
2010: New Division of Research, Technology,
& Engagement under Rob Stein
From Closed Silos to Collaborative Networks: Digital Impacts on Museums
What do these things
have in common?
An emphasis on
Research.
An emphasis on
Research.

Objective #3 in their new Strategic
Plan:
Establish the IMA as a research leader
among its peers in the areas of art
history, conservation science,
information science, and visitor
studies.
An emphasis on
Research.

Goal #4:
• Become an organization where
  models for evaluation are
  conceived, implemented, and
  shared
• Commit to long-term evaluation &
  the analysis of results as part of
  routine planning processes
The Education Dept.
has been renamed
Audience Engagement.



“We’re in the process of defining what
that means.”

                –Rob Stein


 But it will be data-driven.
―It‘s not digital strategy;
it‘s just strategy.”
             –Rob Stein
Emphasis on Conversational Engagement:

 •   Free-choice learning
 •   Intrinsic motivation
 •   Critical thinking
 •   Epiphanies


            How do you measure an epiphany?
Wrestling with the Perceived Authority
of the museum in the minds of the
visitors.
“Authoritative”      Authoritarian

= we have expertise and   = demanding respect without
are willing to share it   earning it
From Closed Silos to Collaborative Networks: Digital Impacts on Museums
Tate
       Photo by chaoticzee, Creative Commons license
4 physical sites & 19 million unique web
visitors/year
“Broadcasting the Museum”
Leonardo Live in 40 cinemas around the country




 “We need to be where the people are.”   –Jane Burton
                                           Director, Tate Media
―Be everywhere all the time—and ideally, free to
everyone.‖ Sponsored & commissioned—not internally
funded.

 •    Legacy Trust
 •    Bloomberg
 •    SkyTV
 •    Channel 4
 •    BBC
 • Even BP

     Additional revenue through Tate Enterprise, digital catalogues,
     freemium apps & games
―The Artist is core.”




• The Physical
• The Virtual
• The Artist
Curators are becoming more active
collaborators.

―Their voices are present in the debate
along with the artists, along with other
cultural commentators, along with
museum visitors and experts in their own
fields.‖

In the Gallery • On the telly • Online • In the App
space • At the cinema • In people’s lives, everywhere
Two more early adopters changing stripes:
―If you want to be relevant right now, you
have a conversation.‖ -Allegra Burnette, MoMA
―If you want to be relevant right now, you
have a conversation.‖
―If you want to be relevant right now, you
have a conversation.‖
From Closed Silos to Collaborative Networks: Digital Impacts on Museums
Meanwhile, at the Walker Art Center in
Minneapolis, the museum as newspaper.
From Closed Silos to Collaborative Networks: Digital Impacts on Museums
Also a Video Channel:
From Closed Silos to Collaborative Networks: Digital Impacts on Museums
And a Re-org:


     WALKER ART CENTER
                                                                                  Director




                        Chief of Audience Engagement
                                                        Chief of Operations and                                 Chief of Finance and
                       and Communications, Curator of                                        Chief Curator
                                                            Administration                                         Development
                           Design and Architecture



                            Director, Education and            Director,                     Senior Curator,     Chief Financial Officer
                            Community Programs              Human Resources                  Performing Arts



                            Director, Marketing and            Director,                        Curator,               Director,
                                Public Relations             Merchandising                     Film/Video             Annual Fund



                                  Director,                     Director,                                       Director, Special Projects
                                                             Facility Rentals                   Registrar
                             New Media Initiatives                                                                     Fundraising


                                                                Director,
                                Design Director                                                 Librarian
                                                         Information Technology



                                                                 Director,                       Director,
                                                           Building Operations               Program Services



                                                            Assistant Director,
                                                             Visitor Services




 Updated March, 2010
Now for something completely different:
                    • Education & New
                      Media report to new
                      chief
                    • New Journalist-Editor
                      mentors curators
                    • Builds their comfort
                      contributing to Web
                    • Online voices
                      multiplied
From Closed Silos to Collaborative Networks: Digital Impacts on Museums
http://www.changecycle.com
© Oakland Museum of California & Gail Anderson
Thank you.

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From Closed Silos to Collaborative Networks: Digital Impacts on Museums

  • 1. From Closed Silos to Collaborative Networks: Digital Impacts on Museums 7) %0 </, & , & 9$"**: B C 97& G& 10 90 /& 9$"**: ; ) </+0 "<#=& 4#D& - <H#H, 3 , <+& ; ) </+0 "<#=& >$"? /+& , 9, <+, $& >$"? /+& , ( , #3 @ & *A ( , #3 @ & *A 9"=, /+0 G& = "<*& J 0 +"$& *0 - . 6, $0 </, & , G& I , *") $/, &G& E<'"$3 #+0 "<& >) D=/& 0 - <+, $6$0 & *, 7//, **& >#$+0 6#+0 /0 "<& 9, <+, $& 9, <+, $& 9$"**: 9$"**: ; ) </+0 "<#=& 9$, #+0 & 1, & E +) +0 <*+0 "<#= & ; ) </+0 "<#=& >$"? /+& , >$"%) /+0 "<& F) 66" $+& >$"? /+& , Peter Samis ( , #3 @ & *A 9, <+, $& 9, <+, $& ( , #3 @ & *A Associate Curator Interpretive Media 4, #%, $*506& - . , /) +0 & 1, - . , /) +0 & 1, 7%10 *"$8&& ( , #3 & San Francisco Museum 2 0 /+"$& $, ( , #3 & & of Modern Art ! " #$%& ( $) *+, , *& "'& ! DISH 2011 Rotterdam, NL December 7, 2011
  • 2. Let‘s DISH: ―Rapid digitisation is the defining trend in today‘s society. The public expects their institutions to be as active on the Internet as they are.‖ ―How do you equip yourself for these new roles, that demand new functions and new competencies in your organisation?‖ -from the DISH 2011 Call for Entries
  • 3. And equally importantly: How do we use the digital as an agent of change in how we relate to our publics? Multiplying modes, venues, voices…
  • 4. The Conversation began a while ago… 1984 Early digital storytelling tool…
  • 5. And it has expanded & accelerated ever since.
  • 8. We conducted an un-scientific survey. Attendees at the Museum Computer Network conference: • Museum director • Web Editor • Exhibit Developer • IT Systems Analyst • Curator • Marketing & Communications Officer • Education • New Media Initiatives • Visitor Services • Publications Associate
  • 9. Question: Do you see digital publishing platforms changing the organization’s structure? • Pool of content creators has increased dramatically. • New kinds of workflows, less hierarchies. • New functional organisation, new positions, new relationships between departments (more intensive collaboration, publication planning on a longer term, trend of digital content co-production). • The way we conceive of transmitting information has changed. • The need for dedicated digital content staff is apparent and overdue. • and…
  • 10. Question: Do you see digital publishing platforms changing the organization’s structure? ―Not sure it will happen, but there is a lot of pressure.”
  • 11. Question: If multiple departments self-publish, what are the impacts, if any, on institutional voice? • It is appropriately diverse. • Quality of content & writing is impacted… • Not sure I believe in ‗institutional voice‘. I don‘t think this is important anymore. So I think the impact is that this concept itself is going away. • Subject matter is often at odds with institutional goals. • What institutional voice? (That was a joke.)
  • 12. Question: Do you see digital media as a democratizing force in your organization? If so, how? • Yes, digital media is less controlled by curators and is deeper rooted in the organization. • It certainly broadens the pool of people who get to be custodians of the Museum‘s mission… • Yes, relatively young, junior staff are taking on more responsibility for being the institution‘s voice and our audiences are also part of our brand now. • Yes, in that younger staff members who are not part of the curatorial staff have a way to contribute stories and content via the blog or social media, whereas 10 years ago these staff would have had no voice.
  • 14. A partial Timeline 2005: Building renovated/technology refresh. 2007: Website relaunch. 2009: IMA Lab founded. 2010: Website re-relaunch, with a difference: Designed & built in-house. 2010: New Division of Research, Technology, & Engagement under Rob Stein
  • 16. What do these things have in common?
  • 18. An emphasis on Research. Objective #3 in their new Strategic Plan: Establish the IMA as a research leader among its peers in the areas of art history, conservation science, information science, and visitor studies.
  • 19. An emphasis on Research. Goal #4: • Become an organization where models for evaluation are conceived, implemented, and shared • Commit to long-term evaluation & the analysis of results as part of routine planning processes
  • 20. The Education Dept. has been renamed Audience Engagement. “We’re in the process of defining what that means.” –Rob Stein But it will be data-driven.
  • 21. ―It‘s not digital strategy; it‘s just strategy.” –Rob Stein
  • 22. Emphasis on Conversational Engagement: • Free-choice learning • Intrinsic motivation • Critical thinking • Epiphanies How do you measure an epiphany?
  • 23. Wrestling with the Perceived Authority of the museum in the minds of the visitors. “Authoritative” Authoritarian = we have expertise and = demanding respect without are willing to share it earning it
  • 25. Tate Photo by chaoticzee, Creative Commons license
  • 26. 4 physical sites & 19 million unique web visitors/year
  • 28. Leonardo Live in 40 cinemas around the country “We need to be where the people are.” –Jane Burton Director, Tate Media
  • 29. ―Be everywhere all the time—and ideally, free to everyone.‖ Sponsored & commissioned—not internally funded. • Legacy Trust • Bloomberg • SkyTV • Channel 4 • BBC • Even BP Additional revenue through Tate Enterprise, digital catalogues, freemium apps & games
  • 30. ―The Artist is core.” • The Physical • The Virtual • The Artist
  • 31. Curators are becoming more active collaborators. ―Their voices are present in the debate along with the artists, along with other cultural commentators, along with museum visitors and experts in their own fields.‖ In the Gallery • On the telly • Online • In the App space • At the cinema • In people’s lives, everywhere
  • 32. Two more early adopters changing stripes:
  • 33. ―If you want to be relevant right now, you have a conversation.‖ -Allegra Burnette, MoMA
  • 34. ―If you want to be relevant right now, you have a conversation.‖
  • 35. ―If you want to be relevant right now, you have a conversation.‖
  • 37. Meanwhile, at the Walker Art Center in Minneapolis, the museum as newspaper.
  • 39. Also a Video Channel:
  • 41. And a Re-org: WALKER ART CENTER Director Chief of Audience Engagement Chief of Operations and Chief of Finance and and Communications, Curator of Chief Curator Administration Development Design and Architecture Director, Education and Director, Senior Curator, Chief Financial Officer Community Programs Human Resources Performing Arts Director, Marketing and Director, Curator, Director, Public Relations Merchandising Film/Video Annual Fund Director, Director, Director, Special Projects Facility Rentals Registrar New Media Initiatives Fundraising Director, Design Director Librarian Information Technology Director, Director, Building Operations Program Services Assistant Director, Visitor Services Updated March, 2010
  • 42. Now for something completely different: • Education & New Media report to new chief • New Journalist-Editor mentors curators • Builds their comfort contributing to Web • Online voices multiplied
  • 45. © Oakland Museum of California & Gail Anderson