A provocation: Are you COPEing* with digital?

*Create Once and Publish Everywhere

If digital cultural assets were food, we would all be eating a very restricted diet full of ingredients that were difficult to know how to cook, were often not ripe and were hard to digest.  If only we could be the spice, the substance, the flavour necessary for anything delicious. The fundamental ingredient that could be reused in different recipes, with a host of different results, in a million kitchens.

Why is our digital stuff so often lost in the vast ocean that is the google search results?  It is out there somewhere, tumbling in the raging SEO surf, only visible every now and then as the shifting tides of user behaviour wash on the shores of our ever increasing time online.   How can we hope to COPE as cultural institutions with this digital landscape that is so changeable and where the taste of our own creativity is drowned by the dominant flavours of the big brands?  To COPE better (Create Once and Publish Everywhere), what would that actually be like?

COPE2

COPEing is a simple idea where you separate the process of creating digital content from the specifics of how it might be delivered.  This means that those inside an organisation create digital content that is capable of being repurposed in different ways by others and is created to be fit for that purpose both editorially and technically. You might say that this is a bit like being able to offer up your home-grown, handpicked organic strawberries to the best pâtissier in every city to conjure a dessert heaven…

But, enough of the metaphors, I want to ask you a direct question:  Is your institution’s content fit for purpose? What I mean by this is, can you define a specific clarity of purpose and a desired audience response and look yourself in the eye and say “yes, I have what is needed for this.”  Are your digital assets ready to be shared, searched and found? Are you curating and publishing in ways that directly address a genuine audience demand, not just your own supply need? Is your content responsive to mobile and are your staff ready to respond to your audience?

If you are not sure about any of this, then either join me for an open session in Bristol at the No Boundaries conference next Tuesday 25th of February 2014, or message me here/on twitter to share your story and cry together over our spilt milk!

A think piece on digital

This is the longer version of a think piece on digital that I did for the new Audience Finder project. It was published to coincide with a whole set of extremely useful new (free) resources that were produced by Culture24 and address some of the most commonly shared digital sticking points such as: mobile change, SEO, Google Analytics segmentation and social media evaluation. They were commissioned by The Audience Agency as part of their Audience Focus project. Get them here.

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I am a digital immigrant and I am fluent in webtalk.  I love sci-fi, nerdy conferences and Lord Of The Rings. I have an online presence on Twitter, Foursquare, Facebook, Flickr, Linkedin and edit five different WordPress blogs. I daily use Basecamp, Dropbox, Google docs, iplayer, spotify, photoshop and skype.

I am also a woman and I am fluent in my own ideas.  I love sushi, conceptual art, and Italian architecture. I go to a gym, a bookclub, a singing group, flamenco classes and I know how to edit super8 film. I talk to my friends, my kids, my husband, my colleagues at work, around the UK and overseas, my family and random strangers in the street who I think look interesting.

I have a laptop, a desktop computer, an ipad and an iphone. I have a bike, a bank account, an office and my feet. I live one life, am one person and don’t really have an online or an offline Jane anymore. It is just me, doing what I need to do and trying to do it the best that I can and I dip in and out of the digital world without thinking about it anymore.

I’m not saying I am always online, or that I have sorted my work life balance (not!) but just that it’s become a fluid thing. This realisation has been dawning on me for the last few years as my interaction and behaviour with technology has become integrated and impossible to separate from what I used to call my real life.  I haven’t decided if I like it, or even if it is a good thing but nevertheless it is true and I don’t think there is any going back for me – or you.

This article is a think piece on how this fundamental shift is touching everyone and in particular the impact it is having on cultural organisations trying to understand, adapt and embrace the change. Don’t think I am suggesting that I have all the answers but I hope that you will agree I have some of the right questions.

Let’s talk about digital

Digital is not really something separate.  No one under the age of 20 even talks about ‘digital’ anything anymore. It is simply a part of everything – communications, transport, retail, manufacturing, entertainment, education, medicine etc. So why when it comes to cultural policy, the arts and heritage sector and building its digital capacity are there separate strategic policy areas and funding strands? As the Arts Council are now moving to integrate arts and museums, why not digital too?  Wouldn’t it be better if instead of a digital strategy, a gallery or museum thought about the use of digital tools, channels and technologies simply within its wider mission, existing content, exhibition, touring, education and audience development plans? Could you even go further and start with digital?

If we look at the development of the Guardian newspaper they moved from setting up a new media lab in 1995 and a separate supplement called OnLine, to an online branding as Guardian Unlimited separate from the newspaper, before in 2008 integrating and rebranding everything under one name guardian.co.uk, followed by guardian.com as they became increasingly international.  They went further in 2011 announcing their plans to become a digital-first organisation, placing open journalism on the web at the heart of its strategy. Their evolution has been a fight for survival and also a response to changing consumer behavior and expectations.

I wonder what a digital-first museum, gallery or arts venue would look like? I’d like to see that. In fact I’d like to run it!

The fluidity that has evolved in my personal life in recent years and that digital natives take for granted, is I believe, largely missing in the organisational development of the cultural sector.  To quote my introduction of the second Culture24 Let’s Get Real report:

For many cultural organisations the online world and digital tools are still unfamiliar and unknown. They are aware of the knowledge gap between them and those (often younger) individuals who feel fluent in this new language. This tension is made worse by the fact that although digital technologies are understood as tools that need to be used and shaped to a purpose, they also change the very nature of their users’ behaviour – allowing access to information on the move, facilitating connections between sets of previously separate data and offering a multitude of opportunities for sharing and participation.

As such, the shift needed for an organisation to feel confident in understanding these changes in user behaviour and then to integrate the use of digital tactics into their overall strategic mission in useful ways requires a significant shift in internal thinking at all levels. The time, space and commitment needed to do this well cannot be under-estimated.

Many cultural organisations also face a raft of internal pressures sparked by expectations such as: 

  • Online developments will significantly improve audience reach
  • Online developments will provide access to new audiences (especially younger ones)
  • We need to be seen to be using digital tools and not getting left behind
  • Senior management (directors/trustees) wants us to build a big, shiny new showcase digital ‘thing’ that will show everyone we are cool (app, kiosk, game, etc.)
  • Digital will help us earn more money
  • Digital will increase participation  

These expectations are often unrealistic and are strategically the wrong starting place for thinking about any new business development of any kind, but especially any using digital technologies. The starting point should, instead, be the mission of the organisation and the needs of the target audience. You need to know what you want to achieve and who it is for. A useful entry point for each cultural organisation to explore how their organisational missions can connect with the needs of their target audiences online is to examine the question ‘what is digital engagement?’

Let’s talk about engagement

Engagement is fundamentally about attention, inspiration or connection. For the arts and heritage sector this means our public and their relationships to our stuff.  Trying to understanding this public and reach them is not a new problem. The reality of inventing, making or producing something that other people don’t relate to, value or understand has been something cultural producers and organisations have faced forever.  It sits alongside the other big audience issue of the supply (this is what I have) vs. demand (this is what you want).

Audiences for anything can be broken down by demographics (where people live, how old they are, how much money they have and what gender they are).  But you can also look at peoples motivations (what they want to know, what they need to buy, where they want to go) and their behaviours (searching, browsing, facilitating, learning, watching, contributing).

When looking at digital engagement behaviour is a key factor as the very nature of many digital platforms, channels and devices fundamentally changes the users behaviour. Mobile technology is accelerating this rate of change at a pace that is now unstoppable as we keep moving between screens, books, websites, shops, tv, exhibitions, apps and cafes in a seamless and continuous online and offline dance. The touch points for our experience/information vary based on our motivation at any one time or the serendipity of our curiosity. Understanding these consumer experiences as a whole is crucial to curating our messages to our audiences.

Statistics tell us that people in the UK are spending as much as 21 hours a week online, more if you live in the USA and up to 40 hours if you are aged 18-24. But what are they doing? Isn’t the internet just full of rubbish? Of course it is, but that is a human issue not a technological one. For all the pornography, gambling and trivia, there are many well documented stories of community empowerment, educational revolution and world changing projects that were only possible because the technology facilitated people to behave in a different way and do something different.  Projects such as the Ushahidi Platform, Tedx in a box, change.org,  Flickr Commons[8], or kickstarter. They all plug together communities of users.  Writer Clay Shirky defines the channeling of this community capacity as Cognitive Surplus or “the shared, online work we do with our spare brain cycles which means while we’re busy editing Wikipedia, posting to Ushahidi (or even making LOLcats), we’re building a better, more cooperative world”. The cultural sector is only on the very edge of exploring how they might do this for the arts.

There is also a new generation of vloggers and bloggers out there, independent voices that are original and intelligent.  People like charlieiscocoollike who is sharing his love of ‘fun’ science with an absolutely huge fanbase of over nearly 2million subscribers he has built from nothing. If you are ever wondering where all this obsession with things like YouTube is going then check out Jamal Edwards at the 2013 TedX Houses of Parliament asking if the next prime minister could come from YouTube? Possible.

As cultural institutions we need to be one of those voices, sharing what we have, exploiting the depth of our knowledge and – crucially – our authenticity. This, along with our creativity, are our two greatest assets as a sector.

Let’s talk about evidence of engagement

While I am writing this 23 people, one of whom is in Madrid, are looking at the culture24.org.uk website. Three are reading a new article about how a master perfumer is recreating the fragrance of Jacobean London, two are looking at the address of the Pankhurst Centre in Manchester (one of them on a mobile phone), one is reading an oral history shared memory of the Scotswood Road in Newcastle, another is searching for museums in Tunbridge Wells. I could go on…

Anyone with a Google Analytics account can do this and watch in real-time as people leave a digital footprint from their visit to your website in your GA software. It is very compelling and ultimately quite satisfying as you actually see for yourself something happening live online.  But what does it tell me about the level of engagement on our site?  How can I know if people are even finding what they want?  Google Analytics will allow me to measure the degrees of engagement but not the ‘kinds’ of engagement (see Avinash Kaushik’s books and blog Occams Razor). The truth is that the right kind of engagement  is the one that meets your own business outcome and so will be slightly different for everyone. There is no one size fits all with analytics.

Identifying the outcome you desire, in a way that is measurable, is not as simple as it sounds. Sometimes it is hard to even know the questions to ask to start asking the right questions.  The Let’s Get Real action research work I lead has focused on these issues with a range of UK cultural organisations over the last three years and the two reports published are a good place to read case studies of how a range of cultural venues have approached this challenge.

The Tate talk about their work in this area and say: Understanding our audiences and evaluating the impact and value of their digital experiences is a vital element of Tate’s digital transformation. One of the aims is to establish a digital culture within Tate that is audience centred, responds to the audience needs and that is also iterative and evaluation lead”. Part of this work has been the creation and sharing of a digital dashboard template that offers a useful starting point for others to format their data into meaningful shapes. Other cultural dashboards can be found online at the Museum of East Anglian Life and the IMA.  What I like about both of these is that they mix off and online statistics that have been chosen as they represent what the organisation values, not simply a collection of what they are able to measure in any one platform.

Getting this right inside your own organisation is a process that takes time and it is a long way from the kind of top level digital metrics that are collected by Arts Council from their National Portfolio Organisations (NPO’s). These are almost useless without applying some relevant audience segmentation, benchmarking your stats overtime and a contextual framework for defining success against your mission.

Let’s talk about content

A good question to ask yourself is  – is your content fit for purpose digitally?  Are you using the analytics from your current digital activities to better understand the success and failure of your content to engage? Are these insights being used to drive internal change? Are you approaching this with honesty and openness? Do you have confidence in your content and knowledge? Can you try and think differently about what you have and then do differently? Maybe you could try a small scale action that combines examining a quantitative (metric) with qualitative (ask the user) evidence? Perhaps this might help you to consider ways to adjust your editorial strategy or content plans? Could you fail fast and get better faster?

The very talented team at the GOV.UK have produced some excellent Content Principles as a style guide for their site. These combined with their Design Principles make an excellent set of reference points for improving your own digital output.

Remember that online everything is content, your site architecture, navigation, headers, alt text metadata and URL’s and they all play a key role in maximising your SEO (search engine optimisation) and therefore the discoverability of your stuff with audiences.

Sadly at the moment, the cultural sector does not have the attention share online we deserve. We are not good at big. Michael Edson, Director of Web and New Media Strategy for the Smithsonian Institution talks about the fact the world has changed in three ways: scope, scale and speed and that some GLAMS (Galleries, libraries, archives, museums) haven’t noticed yet. In his brilliant Age of Scale presentation he makes it clear that there is lots of room at the top. He asks “Can we supersize our mission? Can we go to 11?”.

It can happen. Look at the phenomenal 23,000% boost in DVD sales that Monty Python received when they choose to giveaway all their TV shows on YouTube for free. Or the 1.3 billion views of the Gangnam Style music video with its 8 million dollars of advertising revenue, made possible by ignoring all the copyright infringements and rip-offs. This is scale, but not as we know it in the cultural sector yet.

The Rijksmuseum are perhaps the closest with their recent step of offering downloads of high-resolution images of their collection at no cost. Through the new online Rijksstudio, the public are encouraged to copy and transform the museums artworks into stationery, T-shirts, tattoos, plates or even toilet paper. The ultra-high-resolution images of works can be freely downloaded, zoomed in on, shared, added to personal ‘studios’, or manipulated copyright-free.  The scale of this use is yet to be seen but the ripples have been noticed.

All of these examples share a very progressive open approach to content ownership that I believe the cultural sector should watch and learn from.  Let’s set our content free.

To conclude

Personally, I am a culture addict who loves the physical experience of walking into a gallery, watching a live performance or handling an object but my digital experiences are gaining momentum as digital tools become more useful and support me.  I wonder when, if ever, digital culture will hold my passion on its own? Perhaps only with a relentless focus of quality and a commitment to turning our organisations relationship with the audience, inside out.

A few caveats:

This article takes the word digital in terms of the web based platforms, channels and digital collections of non-profit museums, galleries, heritage sites and arts organisations.  There is a bias towards cultural venues who are content holders such as museums. It does not address digital art or the use of digital technologies as an online creative medium in its own right.  That would be a different story.

In Conversation at The Guardian with Melissa Denes and David Sabel

The Guardian culture professional network is a year old this September and yet it feels somehow like they have always been here. They slipped so neatly into the online hole in the sectors own communications and networking activities that it was a natural fit.

That’s why when the super dynamic Nancy Groves asked me to step up and be interviewed onstage by their ‘mainframe’ arts editor Melissa Denes I said yes without hesitation. I am also a fan of David Sable’s work with NTLive and being onstage chatting with both him and Melissa seemed like a pleasure.

The conversation touched on several ideas that I’ve been pondering recently and thankfully came together into a rather interesting discussion. Here are my reflections of what we talked about:

  • there is little or no instructional memory now in the Arts Council. The leaking and plundering of staff has left then forgetting the lessons of their own failures and having to learn them all over again.  Anyone remember ArtsOnline…? Reminds me of that wonderful line that Merlin utters in the movie Excalibur ‘it is the doom of men that they forget’.
  • the ongoing lack of attention share online for cultural institutions (the actual branded sites from museums and galleries etc) does not automatically apply to artistic rich sites where there is no ‘brand’ between the audience and the stuff. They seem to have a more immediate relationship with the content that is outside of any institutional identity and is based on shared passions and interest. I wonder, are institutions ultimately hamstrung by their own internal need to justify themselves and build brand? If you are not a popular brand (NT, Tate etc) then can you ever break through this? I would love to do some deeper research into the successes of artist sites in the same way we have done for museums in the Culture24 Let’s Get Real work.  Lois Keidan from the Live Art Development Agency had some great comments to make on these issues.
  • as the funding cuts slowly destroy and undermine the arts funding infrastructure, they will not necessarily destroy creativity or creative output. Individual institutions may close but I believe that by far the biggest problem will come from having a political culture that is risk adverse and fails to value education and learning. As time passes, this is where we will fail to achieve the spaces for free thinking,  provocation and genuine debate.  Without those maintaining sustainability and relevance in any sector is pretty hard.
  • there is nothing wrong with being an institution and having an internal need to justify your existence and build your own brand - if – you can be up front about that and stop trying to couch your online activities in a language of participation.
  • trying to imagine the future is impossible as we can only ever construct it out of our understanding of the past. As such it is always a shiny, bigger version of what we had yesterday and can never be the fundamental behaviour changing experiences that we will in fact come to know.  Check out the seriously mindblowing podcast of James Burke talking at dConstruct 2012 conference and read the transcript of Warren Ellis’s talk at the equally awesome Inspiring Reality conference entitles ‘How to see the future’.

There is a great Marshall McLuhan quote that sums it up “We look at the present through a rear-view mirror. We march backwards into the future”.

Thanks to Nancy, David and Melissa for a great evening and to the audience for being so friendly.

Let’s Get Real: Crit Room, Failing Forward and Talk Tables

We’ve been having a great time pulling together some really unique stuff for the conference and have three different session types to offer you alongside the usual inspiring keynotes:

1. The Crit Room

A special troubleshooting Crit Room, where attendees can receive personalised problem-solving guidance in a friendly and supportive environment. Once you’ve bought your ticket fill in our form telling us about the site describing the main problem or challenge you’re currently experiencing. Our panel of experts will review the sites in advance, then offer constructive advice, mixed with practical suggestions and comments/ideas from the floor. The expert panel are Adam Gee, Cross-platform Commissioner for Factual at Channel 4 (Chair), Fiz Yazdi, User Experience Director at cxpartners (www.cxpartners.co.uk), Anra Kennedy, Head of Content and Partnerships at Culture24

2. Failing Forward Case Studies
Partners in our Action Research Project will present honest case studies about online projects they attempted, what didn’t work, and what they learned as a result. We have some wonderful title ….
‘If you build it they won’t come’ Hugh Wallace, Head of Digital Media, National Museums Scotland
‘I Will Never Tweet Again’ Josephine Chanter, Head of Communications, The Design Museum
‘Keeping an eye on my vital statistics’ James Morley, Website Development Manager, Kew
‘Knowing Me, Knowing You’ Matthew Cock, Head of Web, British Museum
‘Have you heard of us?’ Emma McLean, Digital Marketing Officer, National Maritime Museum
‘Trying to make the parts add up’ Louise Gardner, Head of Communications, Watershed

3. Talk Tables
Literally a series of tables where different companies/people discuss what they do and how they can offer help to delegates in areas around the conference theme.
They are informal and responsive, and geared to providing a space to find out about technical systems and digital tools, and meet experts who offer solutions to the problems and needs of arts and heritage organisations. You can talk to/about: Google Analytics; TripAdvisor; Building Digital Capacity for the Arts (Arts Council England); Hitwise (Experian); JISC; Cogapp; cxpartners; Loic Tallon (Pocket Proof); Social Media pick ‘n’ mix (Rachel Clements and Elena Villaespesa); Gaming (Danny Birchall and Martha Henson)

Tuesday 20th and Wednsday 21st September 2011, Watershed, Bristol
Last few tickets on sale here.

Let’s Get Real conference 2011: How to evaluate success online?

Culture24 Conference: Let’s Get Real at Bristol’s Watershed on September 20 and 21 2011.

Do we really know what we are doing online? Does counting the visitors to our websites really tell us anything? Do we need all the social media channels we start? Is there evidence of real engagement happening online? Do we really know what we are trying to achieve and who it is for?

These are difficult questions that everyone developing online services needs to ask themselves. It has almost become a cliché to say that online technologies have touched our lives, changed our behaviour and altered our expectations. The cultural sector is not immune to these changes, but how do we know if we are actually doing well?

Come and join Culture24 for some honesty, plain-speaking and troubleshooting. You can listen to great presentations, find out about our latest action research and most importantly join in the workshops, Crit Room, helpdesks and breakout sessions. You will leave with a better understanding of not just what success online might look like, but what it can mean for your organisation.

When: Evening of Tuesday September 20, 5pm to 9pm. Then all day on Wednesday September 21, 9am to 6pm.

Find out more here: http://bit.ly/mUMBEb

“A Night Less Ordinary” – thoughts about social media, evalution and campaiging

The ACE scheme, Night Less Ordinary (ANLO), which has given away almost five hundred thousand theatre tickets to under 26-year-olds, is winding down. At RIBA this week, many of those who took part, were brought together by ACE and external consultant Pam Jarvis from sam who have been evaluating the campaign.

The aim of the event was to look at ‘What did we learn?’ I was there as part of a session called ‘Re-imagining A Night Less Ordinary’ and was asked to talk about the opportunities arising from social media to attract audiences.

The event was dominated by theatres and organisations working with young people and theatre. Not my usual crowd but there are, perhaps unsurprisingly, a lot of cross overs with the GLAM sectors work – both in terms of using social media but also in developing audiences for young people.

I shared some learning from two projects Culture24 is leading on, as well as some personal thoughts about the initiative. Here are some of my speaker notes:

1. Action Research ‘How to evaluate online success’
Through this project we have been looking at differences between popularity and engagement within social media channels and also the relationship between:
- the organisations’ investment in social media and their return (either as increased popularity of demonstrable engagement)
- their level of investment and their popularity
- their levels of investment and their popularity
- those who ‘like’ their brand and those who engage with a subject

The project has found some perhaps unexpected findings that suggest that engagement is driven by brand rather than content. In other words, people engage with content about subjects they care about more than content about organisations – even if they ‘like’ these places.

There is clear evidence that, as with all traditional marketing, the more money and resources you throw at something, the more popular you can make it. But engagement – the more elusive cultural sector goal – is not just about scale of your resources but the nature of your message.

The key to all this is segmentation of your audience – targeting what you are offering to specific groups of people. The more precise you can be the better.

The project is working on a framework for measuring social media success that:
- sets objectives
- defines what success is
- looks at action planning
- defines what you need to count
- feedback loop

2. Museums at Night
Coordinated by Culture24, this is a low budget, high content value campaign of late night openings that take place each year in May.

Our approach to the campaign is to push the content of the individual events rather than the brand. We use our central digital infrastructure to collect all the information about individual events into one database. We then interrogate and cut this data to fit different Press and PR needs.

Social Media activities have focused on Twitter (sharing event details) and a ‘behind the scenes’ blog that is written for the sector (those venues putting on events) and feeds new ideas for cross sector collaboration, both of which have been successful in their different goals.

This year we have developed a strategy for Facebook that is all about pushing event listings and ticket offers into existing networks that already have a subject- related interest.

All of these approaches are editorially driven, using examples of stories, experiences and events to engage people and hopefully inspire them to share with their own networks.

We have tried to learn from how other sectors successful use Facebook and other social media networks, such as the Digital Street Teams that are often created from fan bases for bands.
An interesting point here is that this kind of approach crosses over between online and offline and there are interesting parallels with how you could take this approach in Museums or Galleries.

3. Thoughts
Whilst the successful buzz generated online around ANLO is great, it is possibly missing the point about what social media can really do. This is more about creating ‘conversations’. The question is how to create and nurture spaces for conversations to take place – especially when so often they are niche, unequal and opinionated?

There is a scale of participation which begins with those channels that are simply promotion and ends with channels that illicit curation, participation and ongoing relationships.

‘Liking’ is an easy commodity but how meaningful is it?

It does not require any dialogue, participation or exchange – ie: real engagement.
If you go further than just broadcasting your messages, you have to be ready to:
- have something to say
- be genuinely willing to listen/act
- have your whole organisation on board (vertically)
- link your backstage, front of house, management, education, marketing – all of it.
- have the capacity to keep the conversations going
- be specific about what your offer to different groups (under 26 is not one audience)

Finally, there are a lot of clichés about the scale of change around digital opportunities but the real revolution is social not technical. The best way to think about it all is not as ‘online’ or ‘offline’ but as a blended experience with a specific strategic aim.

The big opportunities lie at a deeper level around how your audiences can curate a program or lead your services. Projects like the Taking Part festival and A Younger Audience are testimony of this.

The video of me and the other speakers (Jake Orr, James Mackenzie-Blackman and Susan Whiddington) is available here.

Looking back over the development of Culture24 over the last ten years (the video!)

The lovely people from New Zealand’s National Digital Forum has posted the video of my keynote, complete with all the slides.

If you want to hear from the horses’ mouth (so to speak) the inside story of Culture24′s journey from ‘portal to publisher’ then watch this!

Read my take homes from the conference.

Culture24 listed as one of the Guardians 100 most *essential* websites

Thanks to lovely people at the Guardian (in particular Jack Schofield) for the professional recognition on this one.

I’m really proud of the new Culture24 site and think that it really *does* offer an essential service to anyone interested in what’s going on in museums, galleries, archive, heritage site and more around the UK.


Great to be listed in this.

Take homes from the National Digital Forum (NDF2009) in New Zealand

It was long way to New Zealand from Brighton, three planes, 28 hours and a lot of movies, but it was worth it. The people are friendly, the landscape breathtaking and the coffee is fantastic. Add to this the National Digital Forum itself and you have a recipe for a really fun, thought provoking and stimulating week.


above: Penny Carnaby (National Library) and John Garraway (NDF Chair)

Thanks to the British Council, I was sponsored to come over and invited to do a keynote on the afternoon of the NDF’s first day. The conference venue was in the truly wonderful Te Papa museum and I was one of three international speakers, the others being Daniel Incandela (Director of New Media, Indianapolis Museum of Art) and Nina Simon (Museum 2.0 blog).


above: Te Papa wall outside conference “Embrace the past. Prepare now to shape the future”

Daniel opened with a very witty account of the transformation he has overseen of the IMA’s online presence and production. In particular the great use of personalities, narratives and stories told using low cost video but with high production values). He comes from a background like myself of video production and I totally related to his insistence on voice, opinion, humour trumping over the technology.

Nina (a woman after my own heart) talked about audience, mostly from the point of view of the physical exhibition but the issues translate to the online world very easily. The spoke of the importance of framing the ‘right’ question as a way to draw people in to an idea. She also got the whole conference on its feet, sharing skills and seeking advise in the one-to-one, with the reward for a a successful skill swap of banging a huge gong hanging on the stage. See the visual evidence of my successful sharing here!


above: me and my big slides!

For my slot, I told the story of Culture24 over the last ten years, what we set out to do, what we actually did, what worked, what didn’t and what next. I also looked back on the duplication, lack of strategy, leadership and sustainability in UK digital cultural online. Ending with what I see as possibly the start of some real change in 2009 thanks to the following:

MLA digital principles published
Arts Council state digital opportunity as a key priority
National Museum directors speak out to say future for museums lies with Internet
MA conference, first year they have had a strand on ‘digital change’

You can see the slides of my talk, which are in two parts here: Part One / Part Two.

It seems from the Twitter back channel and the face to face chat that the stories were appreciated, which coming from such a highly skilled and digital literate group of people was a real compliment.

Also enjoyed hearing about the excellent stuff they are doing at the DigitalNZ (part of the National Digital Library). Their work with API’s, data aggregation and date sharing is really innovative for the cultrual sector and I for one an watching their space with interest.

Same applies to the stuff that Liam Wyatt from Wikimedia Australia is talking about concerning how to engage the GLAM sector more effectivly with Wikimedia. His recent blog posts on the low hanging fruit in this area are really interesting.


above: Liam Wyatt (Wittylama) and Phillipa Tocker

Finally, this has got to be the best badge ever ….

Thanks to the British Council, Te Ara, NZlive and the NDF committee for their support and for making the trip both possible and worth it.