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Membership and Digital

I enjoyed learning about the Dallas Museum of Art (DMA) and its focus on active engagement and long-term relationships with visitors. For many years, the standard measure of a museum’s impact has been attendance, or the total number of participants in its programs. DMA’s focus on repeat participation, however, is a more useful measure of impact because it allows the museum to analyze its museum visitors in a more in-depth fashion.

I was wondering how the DMA friends program has progressed since it launched in January 2013. According to the press release from DMA in April 2015, in two years, “it has enrolled 100,000 Friends. This achievement now places the DMA as the fourth largest membership of any art museum in North America.” 2015 DMA visitor research also indicated that since 2008 there has been a 35% increase in first-time Museum visitors, and a 29% increase in minority audiences.

“Charting the Course: Using Data in the Museum to Explore, Innovate, and Reach New Audiences” presented at the We Are Museums Conference in May-June 2015 in Berlin, Germany.

I was particularly interested in the fact that the DMA’s free friends membership program redefined the museum’s existing paid membership program, DMA Partners. I was skeptical about whether the museum’s free admission and free membership program would benefit the museum in a sustainable way. But, after launching a free membership program, “the average gift of DMA Premier Partners, annual donors of $1,000–$25,000, has increased 19% since January 2013.” The DMA friends not only increased attendance, but also significantly expanded the museum’s potential donor platform.

Design Thinking in Museum Environment

I was surprised to learn from our reading about SFMOMA’s design thinking project that some of the museum’s staff members—even those whose jobs involve creating visitor materials and experiences—had not previously interacted directly with visitors. While SFMOMA did not appear to expect that Bootcamp students from the Stanford d.school would be able to solve the museum’s challenge in such a short time, the museum’s goal for the partnership was to help museum staff adopt and internalize design-oriented thinking.

As French at the AMNH described, “[museum] staff discovered the importance of leaving offices and talking directly with visitors as essential to building effective prototyping and building empathy with visitors.” I believe that developing and promoting a positive visitor experience is the job of all museum staff, not only those with “visitor” in their title. Design thinking is only effective when all staff members treat the visitor experience as a part of their job.

Using design thinking to connect the physical and digital at the Rijksmuseum

Visitors interact with and experience museums in ways beyond just visiting facilities. For example, people may plan museum visits with family, search a museum website or read reviews, and, based on these experiences, potential visitors will decide whether or not it worth actually visiting the museum. Visitor maps can help staff members visualize and understand how visitors are interacting with the museum. While museum staff may make design decisions without a thorough understanding of their visitor, visitor maps can provide new insights and help museums keep visitors at the forefront of their design decisions.

Crowdsourcing and Museums

People are increasingly likely to spend their free time on mobile devices and accessing social media—activities that can be done anytime and anywhere. Digital volunteering is, in some ways, similar. People can now volunteer their time in convenient and minimally disruptive ways, without the need for applications, interviews, or training. Digital volunteering can be new approaches to community action.

As Ferriter described in the reading, the key element of a successful crowdsourcing project for the Smithsonian Transcription Center is flexibility. That flexibility is important because the most common reason people provide for why they do not volunteer is lack of time and fear of making a long-term commitment. Digital volunteering provides more flexibility for people to work on their own schedule and contribute what they are able. Out of curiosity, I transcribed one of the Center’s projects because I found some projects need foreign language skills such as German and Japanese. The experience was both challenging and rewarding that helped to understand the motivations of the potential audience and the ease with which a crowdsourcing model can be operated (which may open up volunteer opportunities to groups that may otherwise be unable to experience volunteer work).

Will digital crowdsourcing become more prevalent in the museum world? I foresee two major development paths. One option is that crowdsourcing can help create new ways of working by bundling digital volunteers and having them operate as a team using online communication. This is the way that the Transcription Center operates. Another potential option is that crowdsourcing will increase opportunities for real-world interaction with museum collections or public programs. Digital collaboration makes it possible for museums to take advantage of the ease and ubiquity of online interaction in providing volunteer opportunities and fostering new methods of engagement.

Human Touch Still Needs on Social Media

Without question, social media has become a part of our everyday lives. As the use of social media makes our lives increasingly public, it is important that museums ensure their own use of social media responsibly provides information to the public. As Russel Dornan discusses, there are always people behind social media accounts. Social media managers must be careful to ensure that a museum’s online “voice” shows personality and properly represents the institution.

The Dornan’s article reminds me of social media use at Oxford’s Bodleian Library where Adam Koszary spent a year making GIFs out of thousands of items in the library’s collection. Mr. Koszary felt that museums should be unafraid of how they use their collections, adding value and fostering a more direct and personal relationship with their audiences. His efforts increased the library’s engagement by over 300% by simply engaging with the museum’s audience and using its existing collections.

“Social media fulfills a main aim of museums: to spread knowledge and understanding. Social media can also make museums more human.” Adam Koszary, Museum of English Rural Life and Museum of Reading

I believe that social media really needs a human touch to create a link between an organization and its supporters. In my own experience managing a news company’s social media account we used automatic twitter updates (around 50 posts per day) and manually created Facebook posts a few times a day. While we gained 50% more followers on Twitter compared to Facebook in the first year, we saw 45% more engagement through Facebook compared to Twitter.

This made me realize that audiences want to be engaged with like human beings, through emotion, humor, and compassion in online conversations. Dornan and Koszary’s experiences as social managers resonate with my own. Museums’ use of social media should reflect what organizations aspire to be: welcoming, connected, and educational.

An example of how animation could convey the intention of an image, such as this anamorphic head.

https://artplusmarketing.com/historic-gifs-wot-i-did-d3e2c3afe71 @Bodleianlibs

Opening Up the Vault

Open access enables museums to make their collections more freely available for anyone outside the museums. All those people interested in art are advantaged by not having to pay for reproductions or reuse. This week’s readings remind me of the Getty Institute’s Open Content, which believes that their collections should be freely available to all, open content enables and scales up engagement with visitors and the public.

According to the Getty, the widespread distribution of digital images eventually increases attendance at the museum. It also allows museums to effectively become libraries by providing comprehensive and searchable databases of artwork and related information for publication, research, and a variety of personal uses.

Open Content Program | The Getty Iris http://blogs.getty.edu/iris/

The Getty made available the images of certain artworks for free, but left room for arguments over certain issues, such as revenue and whether a particular use is really fair use. Fair use doesn’t always mean free because museums’ storage and conservation efforts require money to maintain. Accordingly, it is right for museums to collect some fee to aid preservation efforts when someone is making money by reproducing a piece from a collection that benefits from these conservation efforts.

As the museum world enters a new era, confusion remains as to how best to manage a trend towards open content or increase public access to collections. There are both advantages and limitations to the various approaches. I believe, however, that museums must work with rather than resist more open access through digital technology to pursue their mission-driven goals and ensure future audiences and sustainability.

In-Gallery Technology: Changing Visitor/Museum Relationships

This week’s reading described how the Pen at Copper Hewitt gives visitors a way to practice their own creativity while interacting with the museum’s collection. The adoption of new digital technologies may not be technically “necessary” for a museum, but technology’s value is in how it enables visitors to interact with a museum in a more personal and engaging way. Copper Hewitt reminds me of my recent experience at the visitor information desk at the Freer|Sackler. Since the Freer|Sackler reopened, visitors often ask what changes were made while the galleries were closed. Most of the renovations were ordinary facility updates (such as a new heating and air conditioning systems and renovating an auditorium). But, because many visitors are repeat patrons who remember the pre-renovation galleries, they expected that a two-year renovation would change their overall experience in the galleries. Some visitors told me that the artworks on display in the Freer looked the same as before the renovation, while others mentioned that they expected to see parts of the collection that were not previously on display.

SFMOMA Touch Wall

Of course, I think that the galleries have a timeless elegance designed for leisurely and contemplative viewing. I wonder, however, how the galleries can better serve visitors? Would the implementation of new technologies have helped the galleries attract new visitors? One way the recent renovation could have changed these experiences would have been to implement new digital technologies. As with Copper Hewitt’s Collection Browser, the first core experience in the museum, some other technologically advanced museums (for example, SFMOMA and the Cleveland Museum of Art’s Gallery One) also have collection search stations or walls. This makes me think that the Freer|Sackler too should show more of its vast collection both online and in physical spaces. With the recently completed renovation, now is a great opportunity to consider the galleries’ relationship with its audience. Even with limited space, technologies can transform the visitor experience.

Early Learning and Digital Museums

This week’s reading made me consider how museums can create inclusive visitor experiences in a society that is not always “fair and equal.” In the article by Melinda Anderson, she describes a study showing that the overarching belief that “society is fair” can have negative consequences for children and people of color. Although most adults recognize that society is not inherently equitable, children are typically taught that everyone who works hard has an “equal” chance to succeed. When children are unable to succeed because of external barriers or other difficulties in society they can internalize that lack of success as a personal failure—e.g., that they did not work hard enough, or were not good enough. This system-justifying belief misleads kids who may be experiencing discrimination, but its effects can be weakened through early-age learning. According to the study I mentioned above, self-esteem and self-confidence are typically determined in children during the sixth to seventh grade timeframe.

Because technology is becoming ever more accessible at younger and younger ages, it is important to recognize that parents and educators can leverage technology to help right inequalities that children face. As the Early Learning and Educational Technology Policy notes, technology is a great tool for learning when used appropriately and with adults playing an active role.

Edward Hicks was a prominent Pennsylvania member of the Religious Society of Friends, or Quakers, who believe in a direct, personal relationship with God. The Quaker values of equality, peace, and simplicity provided a striking contrast to the inequality, conflict, and excess that characterized the decades before and after the Civil War.

https://www.google.com/culturalinstitute/beta/asset/the-peaceable-kingdom/tAHzgNBfxNbfkw

I believe that a museum visit broadens children’s knowledge of the world, but a trip to the museum is unfortunately not easily available to all. A virtual “field trip” to a digital museum makes such experiences more accessible and available to all. For example, Google Arts & Culture is a free online experience that can help children explore thousands of museums and cultural sites virtually. Children can experience these virtual collections and learn to overcome inequality by connecting with history, artwork, and stories. Google’s online platform is just one example, but the integration of digital technologies into classrooms and homes gives opportunities for education that can help children to realize their potential and create a positive impact on the society that surrounds them.

Social Impact Games and Museums

This week’s video inspired me to consider how games can impact participants and enable new methods of learning and engagement. I was particularly interested in the story about Hannah presented by Bradford Lewis of the Corporation for National and Community Service. Hannah created a huge impact on her community through her project on an online game, InterroBang, for the Martin Luther King Jr. Day of Service. Her school administration was so impressed with the results that the MLK Mural of Dreams, which she created based on the famous “I Have a Dream” speech, has become an annual tradition. I realized that Hannah’s achievements in fostering community involvement and education are also something that museums strive to create through visitor experiences. Many museums also serve as educational institutions that inspire youth, create empathy, and help develop emotional intelligence.

In that vein, the ARTLAB+ programs at the Hirschhorn Museum are easily accessible (I am impressed that they have a “drop-in” hours three times a week) and take a unique approach to building empathy and fostering social impact through digital technologies, including games. I think it is important to recognize that the ARTLAB+ programs do not just develop games, but provide forums to talk about real-world issues with youth. The ARTLAB’s games and talks need not necessarily relate to the museum’s collections and exhibitions, but are free to focus on building a community by providing space and resources. Considering museums’ overall purpose to educate the public by telling a story through objects and exhibitions, such community building—including through games—is potentially another way for museums to fulfill their objectives.

These alternative approaches to museum engagement, such as game development, are also supported by donors and benefactors. For example, AT&T and the Bill and Melinda Gates Foundation sponsored the creation of GameDesk, a next-generation education program that empowers students to create a meaningful relationship with knowledge through play. Given this level of sponsorship, projects such as this—based on collaboration between game developers and education specialists—have drawn increasing attention in education, but will draw attention in the museum world as well. I hope that more museums, as educational institutions, are willing to engage in these alternative methods of community development and learning in addition to the traditional exhibition format.

With one week left until the grand reopening of the Freer | Sacker Gallery I am looking forward to seeing how the museum has changed and how new digital technologies have been implemented. When I visited the newly renovated Freer Gallery a few weeks ago, I got the impression that the new exhibition space was incomplete without interactive materials. After opening, the reimagined galleries use the latest simulcasting technologies in the auditorium and feature an accompanying mobile app that offers an enhanced audio tour for guests. Going forward, hopefully the museum will also facilitate additional digital interaction. (For example, involving the Buddha statue as described in my earlier blog post).

One of the reasons I am looking forward to seeing how digital technologies are implemented at the new Freer Sackler is our earlier class discussions about in-gallery technology and inclusive design. I think that in-gallery technology and design focused on accessibility/inclusivity are well-connected concepts because museums should be inclusive environments—accessible and enjoyable by everyone.

I am also excited for our upcoming discussion on social media and museum outreach. Social media has been an important tool for museum engagement. Some of the most highly used platforms are relatively easy to start using and low-cost. Although social media marketing is not really “free,” it can be a valuable tool for public outreach (driving attendance and attracting new visitors). I am particularly looking forward to learning best practices for managing social media accounts and promotion in the museum world.

Museum for All

I had not realized how significant of an issue accessibility is for museums until reading about Bahram’s work with the Canadian Museum for Human Rights (CMHR) and the San Francisco Museum of Modern Art (SFMOMA). I especially liked the approach of the CMHR where “[t]he inclusive design approach is not only accessible for all ages and abilities but is enriching and satisfying for all.” Many museums try to reach this goal of accessibility and inclusiveness by implementing accessibility standards, but, I wonder, how well aware are museum staff are of these standards and the needs of their visitors? Also, how much consideration do museum professionals give to these standards with creating and hosting exhibitions and programs? It is too easy for institutions to get by paying lip service to accessibility issues, but documentation and policies alone are not enough. Museums must put these plans into action and train staff accordingly.

https://www.slideshare.net/davebanesaccess/global-inclusive-design-for-all-beyond-accessible-58604985

As of 2010 nearly 1 in 5 Americans, or approximately 56.7 million people have some form of disability, according to the U.S. Census Bureau. With numbers of this magnitude, additional efforts by Museums to make themselves more accessible for people with disabilities are inevitable. Better education and training of museum staff is key. The article Online Accessibility Training is a great example of what museum staff should understand, for example, with regard to best practices in representing the visual world for people who are blind or visually impaired. There are also a fair number of free online training resources that can be found on websites such as Art Beyond Sight. These training resources can help prepare museum staff to better consider and design exhibits and programs accessible to disabled individuals. As one visually challenged member of a focus group at SFMOMA’s Gallery 218 said, “It made me want to go back into the galleries.” Other museums should hope that their own visitors feel the same.

Gallery One 2.0

Since opening in 2013 the groundbreaking Gallery One digital program at the Cleveland Museum of Art (CMA) has increased individual attendance by 31% and the attendance of families by 29%. The CMA’s success brings to mind my own recent visit to the Freer Gallery. I had the opportunity to preview the newly renovated Freer Gallery space before it reopens later this October. Although there is only a relatively short time until the gallery reopens, I was surprised to notice that many spaces still lacked labels or interactive materials. Many exhibit spaces had only objects installed. While the objects are, of course, the most important component of an exhibit important, without contextual information or interactive materials (including captions) the space felt incomplete. For example, the Chinese gallery features a statue of Buddha (the Cosmic Buddha) that has been on display at the related Sackler Gallery for the past two years. The Cosmic Buddha underwent 3D scanning that was used to create digital interactive materials at the Sackler. These materials brought to life the history of Buddhism and facilitated modes of learning that could only take place with the assistance of digital interaction. Now that the statue is returning to its original room in the Freer Gallery the current absence of these materials is striking. If there was just a statue and caption, one would likely walk around the statue, check the label, and move on. I assume that the Freer will eventually install similar interactive materials in the statutes new home, but their absence made me realize how much I came to expect that level of interaction with museum exhibits.

In the five years since the CMA’s Gallery One opened the spread of digital interaction in museum exhibits has spread, but questions remain: how will these technologies, including augmented reality and mobile applications, continue to evolve; how widely adopted will the techniques pioneered at Gallery One spread to other museums; and how will the spread of digital interaction shape customer expectations toward future exhibitions? CMA has also shown us one potential path forward in the ArtLens Gallery, an evolution and relaunching of the Gallery One concept. This new gallery aims to create “a tighter relationship between the artworks on display and the interpretive space of Gallery One.” While the ArtLens Gallery seems like a “dream exhibition” for many museums, doing so effectively will require institutions to consider their mission, budget, and most importantly, collaborative culture. The power of digital interaction in museums is undeniable – but it must be implemented in a way that makes sense for the institution.

Enough contents, more access

Museum space is limited. At the Smithsonian Institution museums, for example, only a small portion of the collections (estimated at less than 2 percent) are on display at any given time. Online collections can supplement and enrich physical collections, and create engagement and visitor communication globally. Museums have historically invested in online collections mainly for research purposes, as John Coburn mentions in his article Museum and the Web 2016, “[t]here has been significantly less investment in user-centric and curated online collections experiences for audiences less inclined to search.” The step-by-step development of digital collections interfaces at the Tyne & Wear Archives & Museums, however, works well for both art enthusiasts and professionals—including people who have the motivation to visit a museum website even if they are not sure exactly what they are looking for.

Rijksmuseum's user Nora’s collection

More museums should consider, as a next step in online collections management, ways to attract new audiences and people who may not regularly visit museum websites, including those conducting basic online research. A recent study suggests that only 29% of institutions maintain online collections that are optimized for online searching and research. Sometimes a simple Wikipedia entry is an enough. Anecdotally, when I search for an artwork using Google, museum collections are rarely in the top results. But if people could more easily find and use online collections they could become a valuable resource and powerful tool for driving public interaction and engagement. For example, The Rijksmuseum focuses on to attract “culture snacker,” those who are “the typical Internet user of today, pinning on Pinterest, watching videos, sharing photos. Interested in art, design, travel, but not an art lover per se.” Online collections are a valuable resource, but must be more easily discoverable and usable to have a real impact.

Digital Strategy and Integration in Museums

Museums are embracing new digital technologies, but the spread of these technologies across museums globally has been uneven. How can museum professionals help their institutions better manage the inclusion of digital technologies and techniques in their operation? A good starting point is to create an overall digital strategy as part of the museum’s core institutional program.

The NMC’s 2016 Horizon Report describes the results of a surgery of international museum leaders where only 24% of respondents indicated that their museum’s digital strategy is integrated into their institutional strategy. In contrast, 60% responded that their digital strategy was still in development, and 13% responded that a digital strategy was not a priority for their institution. With so many digital strategies still in the “development” phase, this is an apt time for museum professionals responsible for preparing and implementing digital programs to take into consideration what their program is trying to achieve.

As Rob Stein described at the 2017 Museums and the Web Conference: “The important point is the understanding of the kinds of outcomes your museum and visitors need from digital—not the other way around.” For example, less digitally mature museums may limit their focus to what individual technologies the institution should adopt. A complete digital strategy, however, is more broad and should focus on how digital technologies can add value to an organization, further its mission, and serve its visitors. Starting with an overall strategy can then help to ensure that any individual technology purchases or development are done in service of a larger institutional goal.

The Te Papa Museum’s new Digital Product Development Framework (DPDF) is a practical example of such a larger strategy for museum staff and leadership. The DPDF contains several interesting elements, one of which is the “Kanban” system. “Kanban” means signboard in Japanese, and is a strategic management tool originally used by Toyota. This system allows for better communication and coordination through visual representation. This closer coordination between museum professionals can help to ensure that the organization’s strategic goals are implemented in all of its policies.

With the continuing transition to digital, museum professionals should take advantage of the opportunity to create an overall strategy and help guide the development of their digital programs in a way that serves the institutions larger mission. The alternative Alice in Wonderland approach to digital development—“If you don’t know where you are going any road will get you there”—risk wasting time, money and other important resources.

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