Tag: museums

On 'cultural heritage technologists'

A Requirements Engingeering lecture at uni yesterday discussed 'satisfaction arguments' (a way of relating domain knowledge to the introduction of a new system in an environment), emphasising the importance of domain knowledge in understanding user and system requirements – an excellent argument for the importance of cultural heritage technologists in good project design.  The lecture was a good reminder that I've been meaning to post about 'cultural heritage technologists' for a while. In a report on April's Museums and the Web 2009, I mentioned in passing:

…I also made up a new description for myself as I needed one in a hurry for moo cards: cultural heritage technologist. I felt like a bit of a dag but then the lovely Ryan from the George Eastman House said it was also a title he'd wanted to use and that made me feel better.

I'd expanded further on it for the first Museums Pecha Kucha night in London:

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.

Nielsen describes 'double usability specialists' or 'double experts' as those with expertise in human-computer interaction and in the relevant domain or sector (e.g. ref).  He found that these double experts were more effective at identifying usability issues, and I've extrapolated from that to understand the role of dual expertise in specifying and developing online and desktop applications.
Commenters in the final session of MW2009 conference described the inability of museums to recognise and benefit from the expertise of their IT or web staff, instead waiting until external gurus pronounced on the way of the future – which turns out to be the same things museum staff had been saying for years.  (Sound familiar?)

So my post-MW2009 'call to arms' said "museums should recognise us (museum technologists) as double domain experts. Don’t bury us like Easter eggs in software/gardens. 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".

However, I'm also very aware of our responsibilities. A rough summary might be:

Museum technologists have responsibilities too.  Don’t let recognition as a double domain expert make you arrogant or a ‘know it all’. Be humble. Listen. Try to create those moments of understanding, both yours from conversation with others, and others from conversation with you – and cherish that epiphany.  Break out of the bubble that tech jargon creates around our discussions.  Share your excitement. Explain how a new technology will benefit staff and audiences, show them why it's exciting. Respect the intelligence of others we work with, and consider it part of our job to talk to them in language they understand. Bring other departments of the museum with us instead of trying to drag them along.

Don't get carried away with idea that we are holders of truth; we need to take advantage of the knowledge and research of others. Yes, we have lots of expertise but we need to constantly refresh 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.  Finally, don’t be afraid to call in peers to help with examples, moral support and documentation.

My thoughts on this are still a work in progress, and I'd love to hear what you think.  Is it useful, is it constructive?  Does a label like 'cultural heritage technologist' or 'museum technologist' help others respect your learning and expertise?  Does it matter?

[Update, April 2012: as the term has become more common, its definition has broadened.  I didn't think to include it here, but to me, a technologist ia more than just a digital producer (as important as they are) – while they don't have to be a coder, they do have a technical background. Being a coder also isn't enough to make one a technologist as it's also about a broad range of experience, ideally across analysis, implementation and support.  But enough about me – what's your definition?]

About 'lessons from a decade of museum websites'

An article I wrote for Museum iD, 'an independent ideas exchange and thinktank for museums and heritage professionals' has been published online. The entire version of 'Learning lessons from a decade of museum websites' is available online, but as a taster, it starts:

2009 may be remembered as the year when various financial crises gave us time and cause to stop and reflect on the successes and failures of the past decade or so of museums on the web. This reflection is aided by the maturity of the web as a technical platform – models are now available for most common applications of cultural heritage online, and a substantial body of experience with digitisation and web projects exists within the cultural heritage sector. It also offers an opportunity to pose some questions about the organisational changes museums might face as both the expectations of our audiences and our own working practices have been influenced by our interactions online.

Some of it's really practical, and comes from my desire to share the lessons I've learnt over ten years in the cultural heritage sector:

Based on my experience and on that of other museum technologists, I’ve listed some sample questions about your audiences, content and organisational goals related to the project. The answers to these questions will begin to reveal the types of interactions your audiences could have with your content, with each other and with the museum itself. In turn, focussing on those social and functional interactions you wish to support will determine the website and interaction metaphors suitable for your project.

And some of it comes from a desire to see museums communicate better internally, and to make the most of existing knowledge and resources, no matter where it sits in the organisation:

Some of the questions above may seem rather daunting, but by involving staff from a range of disciplines in the project’s earliest scoping stages, you gain a greater variety of perspectives and make available a wider range of possible solutions. Inviting others to participate in the initial stages of project design and taking advantage of the innovation and expertise in your organisation is a good way to discover reusable resources, bring to light any internal duplications or conflicts, and to ‘reality check’ your idea against organisational mission and operational reality. For example, most museums contain people who spend their days talking to audiences and watching them interact with exhibits and interpretative content – observations that can help bridge the gap between the physical and online audience experience. Similarly, museum technologists are not merely passive conduits in the online publication process but often have skills, expertise and experience that can profoundly shape the delivery of services.

If you need to understand emerging technologies, ‘mash-up days’ are among the lightweight, inexpensive but potentially high-impact ways to enable staff to research and experiment with new platforms while engaging in cross-departmental collaboration. Cross-specialism workshops, ‘unconferences’ , social media communication tools and even traditional meetings are a great way to create space for innovation while benefiting from years of institutional knowledge and bridging the disconnect that sometimes exists between departments. Integrating social and participatory (or ‘Web 2.0’) applications for collaboration and consultation into organisational practice can improve the chances of success for web projects by allowing staff to become as familiar as their audiences with the potential of these tools.

A lot of my thinking harks back to the ideas that coalesced around the Museums and the Web conference earlier this year, summarised here and here.

Finally, I snuck in a challenge at the end: "Our audiences have fundamentally changed as a result of their interactions online – shouldn’t the same be true of our organisations?".

Let's push things forward – V&A and British Library beta collections search

The V&A and the British Library have both recently released beta sites for their collections searches.  I'd mentioned the V&A's beta collections search in passing elsewhere, but basically it's great to see such a nicely designed interface – it's already a delight to use and has a simplicity that usually only comes from lots of hard work – and I love that the team were able to publish it as a beta.  Congratulations to all involved!

(I'm thinking about faceted browsing for the Science Museum collections, and it's interesting to see which fields the V&A have included in the 'Explore related objects' panel (example).  I'd be interested to see any usability research on whether users prefer 'inline' links to explore related objects (e.g. in the 'tombstone data' bit to the right of the image) or for the links to appear in a distinct area, as on this site. )

I'm not sure how long it's been live, but the British Library beta catalogue search features a useful 'Refine My Results' panel on the right-hand side of the search results page.

There's also a 'workspace', where items and queries can be saved and managed.  I think there's a unique purpose for users of the BL search that most sites with 'save your items' functions don't have – you can request items directly from your workspace in advance for delivery when next in the library.  My friendly local British Library regular says the ability to save searches between sessions is immensely useful.  You can also export to delicious, Connotea, RefWorks or EndNote, so your data is transportable, though unfortunately when I tested my notes on an item weren't also exported.  I don't have a BL login so I haven't been able to play with their tagging system.

They've included a link to a survey, which is a useful way to get feedback from their users.

Both beta sites are already useful, and I look forward to seeing how they develop.

What's the point of museum collections online?

Earlier this week I posted on our developer blog to ask 'what’s your number one question about presenting museum collections online?'.

Merel van der Vaart (@MerelVaart on twitter), who has just finished an internship with the Science Museum's climate change content team, posed an interesting question in response:

"I'm still struggling to decide what the value of online access is. Not  that I think it's bad, but how exactly is it good?"

I tend to think that everyone knows the benefits of online collections – providing access to museum objects and the knowledge around them, to start with – so it's actually a really good question: why are we putting collections online?  Who does it benefit?  Are the benefits clear to others in the museum, and to our audiences?

I can think lots of answers, but the exercise of stopping and examining my automatic response was really useful.  I'm still thinking about the presentation on selling your ideas because  it's made me realise the importance of having answers to questions we'd forgotten might be questions.

Melbourne museum 3.0 meetup/pecha kucha July 16

More details about the museum 3.0 meetup/pecha kucha in Melbourne on July 16:

Drinks @ ACMI Lounge from 5:30pm
About 6pm take our drinks to Studio 1 for the Pecha Kutcha sessions
After that: a selection of this side of the city's finer drinking establishments…

We have four pecha kucha speakers so far – you could volunteer yourself (or a workmate) on the museum 3.0 ning thread.  It might sound intimidating, but it's a lot of fun, and as a speaker it's good because it's all over in 6 minutes and 40 seconds.

The London museum pecha kucha was a lot of fun and I'm generally looking forward to meeting some people working in cultural heritage in Melbourne and finding out about some of the cool work going on here.

'Reshaping the Art Museum'

I'm sneaking a moment from revision to point you to this thought-provoking article 'Reshaping the Art Museum' in Artnews:

To an unprecedented degree, market research about the needs, wants, fears, and anxieties of visitors is shaping how museums are designed. "We got a lot of comments that it's just overwhelming to come to museums," says Lori Fogarty, director of the Oakland Museum of California, which inaugurates a complete reinstallation of its art, natural history, and science collections this fall. So the new galleries will feature "loaded lounges" where visitors can relax, read catalogues, or do hands-on activities, along with open spaces that accommodate up to 25 people for concerts, storytelling, or other such programs.

But a bigger change in her plan is connecting people who might never have visited art museums with the people who curate them. Fogarty calls it transparency—"breaking the fourth wall"—having curators answer questions about how and why they choose works. Visitor feedback will be encouraged, and the exhibitions, in turn, will be based on the "wiki model," with curators representing only one voice in a mix that includes conservators, community members, and artists. "We can't count on the fact that potential visitors were brought to museums as kids," Fogarty says. "Many have no cultural or experiential reference; they don't think of the museum as a place that welcomes them or has anything of interest to them."

At the Walker Art Center in Minneapolis, director Olga Viso is also using a major reinstallation as an opportunity to remake the museum into a more civic space. "We want to be in dialogue with the audience instead of in the place of authority," as she puts it. Such efforts may mean involving the community in the organization of shows or asking people to vote on the selection of artworks. When the new installation opens in November, says chief curator Darsie Alexander, curators will hold in-gallery office hours—giving visitors insights into the way exhibitions happen, and giving the staff a chance to find out "how visitors encounter work in space—the kinds of questions they ask about art, what they find interesting, and how long they stay."

…

And for all the innovations in programming, marketing, and education, Campbell argues, the core mission remains the same. "We can make ourselves more user-friendly, but ultimately one of the key experiences of visiting a museum is that moment of standing in front of an object," he says. "Suddenly you're responding to something physical, real, that changes your own perspective. And great museums will always do that, as long we get people through the doors."

'Organisational change' session at MW2009

I was chairing the session so my notes are a bit sketchy. It's worth reading the full papers and following the slides online.

Intro notes: it's an interesting moment for the sector, maturity of approaches to the web. Turning the analytical gaze inwards, working towards a more effective, integrated and considered use of technology. This brings new challenges in managing expectations and demand. Wider consultation means adapting our language and understanding, but the benefits of collaboration are worth it.

Organisational Change for the On-line World – Steering the Good Ship Museum Victoria
David Methven, Head, ICT, and Timothy Hart, Director, Information Multimedia and Technology, Museum Victoria, Australia.  Slides: http://www.slideshare.net/museumsandtheweb/tim-hart-david-methven-organisational-change-for-the-online-world-steering-the-good-ship-museum-victoria

Tim Hart started, talking about their in-sourcing model; build capability, drive money otherwise spent outsourced inside the org. Interruption by David! Trying to change org culture, 'blah blah blah'. They used an audience volunteer for dramatisation!
Therapy for Tim. Circle. Telling people what we should be doing, not how. Changing work practices. Not consulting us, asking us what we want to do and how we should change what we're doing.
Process. Once strategy was done, job not done. Didn't understand how much ownership the org wanted of the strategy. People who weren't involved in the process kicked up.
Established exhibition production processes.
Interesting conceptual model. Relationship.
Internal experience of applications, IT systems.

Down To Earth: Social Media and Institutional Change
Patricia Deiser, Museum voor Communicatie; and Vincent de Keijzer, Gemeentemuseum, The Netherlands. Slides: http://www.slideshare.net/museumsandtheweb/vincent-de-keijzer-patricia-deiser-down-to-earth-social-media-and-institutional-change

Vincent and Patricia: addressing people who are not willing or able to come to the museum. New roles for the public. Make use of knowledge, time, enthusiasm of the public.
Brave new world, head spinning. But had to get down to earth. Colleagues were being polite, but no one was actually doing anything. Realised approaching it in the wrong way – presenting it as something everyone is doing, we should be doing it. But should try to convince them about what would benefit them in these web 2.0 things. Had to seduce them. Much harder to do. Asked experts from outside the museum to help develop online strategy. Stop talking with people outside the museum, start talking with people inside the museum about this. Let people discuss it among themselves. Let them go online, learn about it for themselves. Low profile platform for staff to experiment. Start with your own, internal community, build a community from there.
Continuous access to cultural heritage with university of Amsterdam. Built a platform for museum staff, for ideas, proposals, projects. Asked Patricia, as a student, to research, interview colleagues. Outsider perspective.
Machiavelli quote.
Patricia's research: How do people interact with public, how much do they know about web technology, do they use it themselves; what are they enthusiastic about?
Talked about research process. Showed colleagues examples of other things. Asked colleagues to research their presence online on e.g. Flickr, see what people had already put out there.
Models of staff members from the research: Lecturer – likes to prepare thoroughly, then make a publication/presentation of it. One-way focus. they send their knowledge out to the public, not interested in feedback from people who aren't also scholars.
Fear of losing expertise if everything goes online.
Educators – not people in education dept, label for group. More into interaction, want some feedback . Teacher – pupil relationship. Afraid of examples where people could load UGC onto website.
Presenters – same attitude to communication as educators, but more advanced in web technology.
Interactors – already working with the public, do want to have interaction with public, but not advanced with technology. Old school education departments
Connectors – same attitudes to public, but advanced in using web technology.
Mapped staff into the categories. Difficult diagram to show internally! Scale of communication style (one way, two way focused) and use of technology. Difficult to get everyone into connectors corner, but at least get people to move up scale on use of technology.
Communities of practice.
Everything that goes onto desk goes onto website.
Still needs a lot of social skills, persuasion.

After the Heroism, Collaboration: Organizational Learning and the Mobile Space
Peter Samis and Stephanie Pau, San Francisco Museum of Modern Art, USA. Slides: http://www.slideshare.net/psamis/after-the-heroism-collaboration-organizational-learning-and-the-mobile-space

Stephanie and Peter: digital and analogue resources. Benefiting from experience of other institutes either as staff change or working with other orgs.
Interpretive goal process. Cross departmental dialogue and interpretive brainstorm process. Workshop – answers to basic questions to help formulate a strategy.
Key questions – what's the rationale for this project? Why here, why now?
List 1 – 3 main visitor take aways.
Who's the intended audience, and why?
What didactic elements are planned? What other modes of interp inc multimedia should we consider?
Case studies. Showing how the process worked in exhibs with really different requirements.
Peter – evaluation studies. Different modes of use – wall texts vs multimedia guides.
"What a visual interface brings to the party…" Break picture into components, not a slave to a minute and a half overview.
What people want – pre-loaded vs call in.
Sharing usage figures – ace.
What information did on-site visitors not get? if they didn't have the cell phones. Breakdown of what content was available by which methods.

Notes from the closing plenary, MW2009

These are my quick and dirty notes from the closing plenary of the 2009 Museums and the Web conference .  If I've quoted you but gotten your name wrong, I'm very sorry – please let me know and I'll correct it.  I haven't put links in for anyone yet so I'll be editing the entry anyway.

'We are the program.'  Awards for blog posts, tweets, Flickr photos then David Bearman invited people to come up and talk about what they've learnt, what they'll take away.

Nina, Museum 2.0 – inspired by Max's keynote address. But she didn't feel that difference in the institution. Didn't see the transparency and openness that you get on the web, on their dashboard. Not saying they have to do that, but wants to bring up idea of participatory ghetto… forming relationships with visitors on the web, who'll show up at museums and wonder why the same relationship isn't reflected in the building. Pushing in institutions to establish parity, not to give up on physical space also being somewhere for openness and transparency. IMA – had experience of extreme cognitive dissonance. How can you start the conversation, taking great stuff from web world into physical environment of institutions. Her first time at MW.

Heather from Balbao – new to conference and museum world, great introduction.

Nate, Walker Art Centre – I always leave inspired, seen it happen every time- a month worth of trying new things, then it trickles off and fades… go to the wiki and take the post-conference challenge to do one thing in April – choose one task that you can achieve by the end of April. Distributed agile development … beyond API, everyone can benefit from going home and immediately doing just one thing. [eek I feel weird taking notes about my ideas]

Frankie, Rattle – be excited about tin mining.

Brian, UKOLN – danger that losing accessibility cos doing innovative things, but there have been some really great examples. Universally accessible – pushing it (the definition) of it forward.

Seb, Powerhouse – need to bring people in, curators, management.

Julie (?) – boundaries between web and physical boundaries – problematising the name of the conference. Is 'web' starting to constrain what we're about?

Nina – comment on that – conference in US called WebWise – lousy content but less funded projects, mostly director level people who go. How do we get these people in a situation that's more blended with the kind of people who are here?

Victoria, Smithsonian? carrying on Nina and Seb's point – spends first month being excited, but directors etc aren't going to come to conferences like this. You may have five minutes to articulate why something is important – and it's not heard when it's someone outside, even if you've been saying it on the inside for years. Having someone who's succeeded from outside, doing snippets of video or whatever – convincing.

David – seeing what can share back. Spend time at conference demanding people write papers, share slides… would really love for the post-conference discussion that takes place online to incorporate thoughts, experience about what doing. Extension into social space of a discourse we've never really had – how do you use that post-conference excitement… how do organisations change, which is becoming the centre of the discourse… take it further, keep talking to each other about how do you make it work.

Jennifer – the thing we can do by the end of April, if you write a report, share it with your colleagues. Let people pinch your ideas, send it out. Share the reports as well as the stuff that happens when we're right here.

Jon Pratty – we need a more social media within the museum.

Peter Samis – can remember this camaraderie in 1991… hearing it just as fresh now with people who are coming to their first conference, loving it… this is going to have legs, it's going to keep running, continue this spirit throughout the year.

Rich (another Rich) – haven't really felt the amount of community before, but have been coming since 1999. Being able to catch up on the things he missed while he was here.

Brian – people in the community can fall out, it's happened in the UK. People have strongly held views, need to depersonalise disputes, constructive criticism.

Scott (?) – we're not the only people talking about these subjects, it's happening in higher education, the commercial sector, not a whole of discussion here about what's happening out there and what impact it has here. Would be neat to do some headlines on what's going on in the world outside museum, add to the implications for this audience.
[This final session probably contributed quite a bit to my summary of MW2009 – I'd written the 'MW2009 challenge' a little while before (after discussions at the ice cream API meet) and it was wonderful to feel so much excitement (tempered with realistic cynicism) in the room about the positive changes we could make when we went back to our home institutions.]

The museum/academic divide, museum labels and mobile-accessible interpretation…

This post from the Smarthistory blog, Writing the Museum Label on a Wiki (and some other ideas), very neatly brings together some of the proposals and conversations from MW2009.

The authors suggest two 'notions' to bring about greater collaboration between museum educators (in the broadest sense) and academics, starting with the premise that:

For some time now, we have been publicly questioning the division that exists between two professional groups tasked with educating the public about art: those in museums (curators and educators) and those in the academy (art historians). These two communities share expertise that is sought by the museum visitor and the student, yet they rarely meet, too often do not attend the same conferences, and almost never collaborate.

I won't pre-empt their notions here – go and read the article, but I just wanted to highlight this quote:

Can the tired modernist fiction that the direct experience of the object must remain unencumbered by the frame of context really still be operative?

I really hope not!

(As an aside, my inner web geek is hugely amused by the irony of the '403' contained within the URL of the article – 403 is the HTTP status code for 'access forbidden'.)

Max Anderson, Indianapolis Museum of Art, 'Moving from virtual to visceral'

[My very rough notes, I've been distracted and missed bits, probably misheard things, etc, but at least it gives people who weren't there an idea of the flavour of the event.]

[Update – the video is online, you may find that easier to digest.]

Max Anderson, director of the Indianapolis Museum of Art – opening plenary at Museums and the Web 2009, 'Moving from virtual to visceral'.

Behind the applications we're producing, for an art museum in particular, we're looking for something beyond exposure to things. Felt, deep, elemental emotions.

Museums tend to define selves in terms of number of objects, acres, visitors… difficult to translate that endeavour online in a way that sticks. If you get too caught up in plumbing of technology, you forget about the outcomes. "In addition to bragging rights, what features of a museum should be online?"

[missed bits]

So much of what goes on behind scenes is critical to experience of front of house, give visitors an experience of that behind the scenes stuff.

Volunteers are important. Enormous swathe of public who could be continually engaged…

Review of what happens on site in museums: flirting, gossiping, looking, shopping, eating. Looking is wedged among all other activities. Is it heresy to admit that looking and learning are only a small part of a museum visit?

George Hein, visitor survival curves… pathways through museums. Opportunities to construct a narrative – but this isn't the normal approach to museum attendance. Choice and opportunity should govern what happens, rather than doing what we think the public demands.

Average time in front of a work of art is 3 seconds, it's 'glancing at picture to confirm that's what you've just read about' on the wall label. There are precious few moments when people linger in front of objects – it's like the Museum of Drag Racing. But look at the percentage of time learning versus that spent living in university. So much of time in college is extrinsic to learning. Give permission for that kind of experience in institutions, make a bond with visitors that's visceral, not just virtual.

Excessive orientation can compromise the experiential/learning environment.

There's too much clutter in experiential terms, we're torn constantly by stimuli. 'Virtual' museum programs – we fall in love with the technical solutions, but it's not obvious that they have the intended effect, and are also good for audiences.

An interactive map is still a map – show what's behind the velvet rope, it's sensual, appealing.

Databases – data cleaning before putting things online vs put everything online now and see how much have to clean up. Publishing databases about collections is just a baseline, just the beginning of something. Having high resolution images is, for lots of visitors, not much better than credits at the end of a movie. It's necessary, but not sufficient. We've only gotten to building the ground floor – we need to take visitors to the whole movie, get beyond showing them the credits.

Eschew the virtual, promote the visceral. What we collect has stories behind it, telling the stories is the key issue. What are the avenues for achieving something visceral in a museum visit?

Suspend commercial intrusion and attempts at mind control. Bruegel King.

Privatisation takes away the possibilities of adventure and play. Encourage voyeurism – show staff in action. Public wants to see how museums operate and function. CSI is a hit because it shows what goes on behind police work. We should take a cue from that appetite and enthusiasm.

[Missed a bit]

People enjoy being near original objects. Revel in the thrill of proximity to the original object.

Foster projection into another time, place or condition.

Disorient visitor, give them permission to move away from comfort zone. Encourage playtime, dream time.

Help visitors savour and retain memories and empathetic response. The empathetic response is the memory maker.

Help visitors apply that memory and empathetic response to daily life. Take the lesson embedded in museum objects, find the link to continued application to life after you've left the museum. Extensions of learning beyond what happens on site.

Teach now to practice connoisseurship at the mall – aesthetic standards around quality, etc.

Preferable scenario to onsite orientation – use pre-visit planning and post-visit environment. Encourage visitors to get ready before visit online beforehand. Kids who come on school visits to the Indianapolis Museum of Art get memberships for families, they can come back and share their learning with their parents.

Pre-visit – choose a path based on visit duration or thematic interest. Wander through the museum behind the scenes online. Show how complicated it is to run museums, "not as simple as switching on the lights and admiring things". Sharing this is useful, particularly given current climate.

On-site: deviate from planned path, improvise. The visitor doesn't need to be tied to our taxonomies. Make room, permission for visitor to experience it that way.

Post-visit – join Facebook, etc. We want to be part of your lives, not just a visit.

Encourage participation by telling the truth, the whole truth and nothing but the truth. We've been good at promoting and marketing and cheering ourselves on but not necessarily good at telling the truth.

It's about shining a light on how far you've got to go, not just what you've got to show off.

IMA had layoffs, their dashboard showing employee count dropped. If a museum has more people in development than in education or interpretation, then is bereft.

One of the truths we need to get out to visitors… permanent collection isn't permanent. Refreshment of new works of art on view. Objects are not permanently on display, they're in storage, lent, borrowed. Rhythm [of display, I think]. Permanent collections are invitational as well.

Attendance figures – "we don't necessarily think that's true but that's the number we quote". Is it a clicker with guards, estimates?

Mapping visitors by postcode, what postcodes aren't represented? Did he just say 'statistical porn'??

Making institutions more a part of your life, talking about collections. Also showing deaccessioning. Policy on deaccessioning on web – 'a no brainer'. Also put up db of works planning to deaccession as well as ones have deaccession. He has the uncomfortable feeling that he shilling for deaccession but they're really just trying to be transparent about process. Next process is to link funds from deaccession to artworks acquired with funds from its sale.

Charity Navigator. Don't trust what you see on the web. Methodology is flawed. We should present those stats ourselves, don't wait for someone else to be arbiter of our fortunes.

Why wait for someone else to publish your financial info, do it yourselves when it's ready.

Steve.museum – more empathetic. Opera in Italy in 19thC was riotous but now is antiseptic – don't make that mistake in museums.

Transcriptions, search terms is the magic of ArtBabble. Search results will take you to that second in the video. [Awesome!]

Click, Brooklyn Museum. Crowd-curated exhibition. Brooklyn Museum API – on screen, [missed stuff]. Te Papa. [Woo, check the love!]

Don't bet the farm on commercial applications that may go away.

[The end! I'll update when slides go online and tidy and correct if I can get more accurate info. Questions to come when I get a moment.]