Tag Archives: audience engagement

Museum Digitisation – A Case Study

I support the digitisation of museum and gallery collections. There are so many places that I’d like to go to but realistically I won’t have the time or money to travel to all the destinations that I have on my bucket list. Enter the digital museum. Museums with a strong digital presence allow the virtual visitor at least some entrée into their collections. When collections are digitised it also assists researchers access to a wealth of new information to study without them ever having to leave the comfort of their own home.

One of the best stories that I’ve read recently was in Cosmos Magazine[1] which reported on The British Library Qatar Foundation Partnership launching the Qatar Digital Library – a new bilingual, online portal which provides access to previously undigitised British Library archive materials relating to Gulf history and Arabic science. Their vision was to prepare the people of Qatar and the region to meet the challenges of a changing world by leading innovation in research and education[2]. (See Fig 1.)

Fig 1. Home page of Qatar Digital Library

The British Library (in London, England) has amassed one of the world’s greatest research collections and with the Qatar Foundation has undertaken a huge project to digitise more than half a million pages from their collection consisting of images, manuscripts, maps, sketches, personal archives and East India Company Office Records. The project is an ideal example of the role of the contemporary curator who as part of a project management team of curators, cataloguers, conservators and digitisation experts works to create a valuable online digital resource[3] from a significant collection of objects located in the British Library. The Qatar Digital Library[4] aims to bridge the gap between past and the future by providing access to information about the history and heritage of the Gulf and Arabic science. Before digitisation, researchers would have manually searched a printed catalogue or physically visited the library to access a particular item which would then be retrieved from the archives.

One of the pages now accessible online

One of the maps from the archive now available to study online.

The web-based, interactive, multilingual information is more searchable and accessible for new audiences in Qatar, the UK and other online researchers and hopes to inspire new forms of interpretation from the original historic documents. The project has created high quality contextual and interpretative material to facilitate the use and understanding of the digitised content. Digital technology has provided a  platform for the discovery of history from the gulf region by allowing access to the original primary source scientific documents in Arabic which can be reinterpreted in the future without physically visiting the British Library.

As part of the process, the curator has taken primary sources, such as a photograph album, showing the everyday life in Afghanistan (social, architectural, trade) during a one month period, and digitised the pages allowing the voice of the object to come alive for the researcher. Supporting text has been added to contextualise the objects for the online audience in the same way that they would be supported by curatorial staff in the British Library.[5]

In order to encourage new audiences, the project team has actively tested the portal with possible users such as academics, archivists and young people, to find out what they need from the content and how they would use the collection for their own purposes. The feedback has been used to create a better system. The online catalogue is intuitive and researchers will be able to access the collection more easily than the original objects in the British Library. Evaluation of the new website will be carried out to determine the project’s success by measuring website users, site feedback, media coverage and other Key Performance Indicators.

References:

[1] New Digital Home for 1,000 years of Arabic scientific manuscripts viewed online at http://blog.cosmosmagazine.com/blog/2014/10/28/new-digital-home-for-1000-years-of-arabic-scientific-manuscripts?rq=Qatar%20digital%20library viewed online 20/2/2016

[2] Qatar Foundation vision and mission statement viewed online at http://www.bl.uk/qatar/ on 20/2/2016.

[3] The British Library Qatar Foundation Partnership viewed online at http://www.bl.uk/press-releases/2015/january/british-library-and-qatar-foundation-extend-partnership-to-digitise-images-of-gulf-history  on 20/2/2016

[4] Qatar Digital Library viewed online at http://www.qdl.qa/en on 20/2/2016

[5] Some of the information cannot be accurately interpreted without advice on the circumstances in which the records were created which is normally provided by archivists in the reading room at the British Library. Links to related material may also be provided by the curatorial staff in the British Library.

 

Museums in the 21st Century

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Destination Sydney at Mosman Art Gallery

So many well regarded museologists have spoken about the role of museums in this century. Nina Simon is a strong believer in museums working with their communities, Ed Rodley writes about the museum as contact zone and debates the museum models for “traditionalists” versus “progressives”. Seb Chan believes that museums are playing catchup with their digitisation programs and that it is important for museum staff to reinforce the value of the physical visit in all the thinking and planning for their visitors.

I recently participated in a MOOC (a free Massive Open Online Course) by the University of Leicester and Liverpool Museums – Behind the Scenes in 21st Century Museums. The course built on some of the thoughts and issues discussed in articles by Simon, Rodley and Chan – such as growing museum audiences, creating emotional connections between visitors and collections/exhibitions, as well as the role of museums in starting conversations about social justice, human rights, health and well being etc.

When I consider all of the information above, the word that summarises museums in the 21st century for me, is “connectedness”, and the relationship of each museum to its audience. You can examine any of the issues raised above and in every case, it’s about having flexible ideas and staying connected to your audiences, no matter what museum model you are channelling. An article by Holland Cotter from the New York Times in 2015 discussed the fact that there is no single museum  model and that museums will be defined by “the role that they play as a shaper of values” and “the audience that they attract” rather than just their architecture and contents.

What are Museums in the 21st century?

Museums are about – vision, collections and exhibitions, context, meaning and shaping community values. Museums are connecting to the public in many ways, through – Community
Digital interface
Architecture
Collections and exhibitions
Physical location
Physical visits
Educational programmes
Acting as the contact zone for conversation between divergent groups
Addressing social justice, health and wellbeing issues
Growing audiences
Strategic marketing and publicity

 

To achieve all of the above, the financial and time commitment by museum management behind the scenes is huge. The many hours required to maintain collections and exhibits, develop educational programmes, design and curate exhibitions, streamline security, IT and the Front of House interface, maintain social media presence and continue with the digitisation of collections, train paid and volunteer staff and build membership and audience numbers can often be underestimated because this work isn’t “seen” by the public or “understood” by government funding bodies.

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Destination Sydney at S H Ervin Gallery, Observatory Hill

It’s good to see some of the smaller Sydney museums pulling together to create an exhibition such as the recent  Destination Sydney at Mosman, Manly and the S H Ervin Galleries. They used one curator to create an exhibition which could stand alone in each space, but combined showed 9 iconic Sydney artists drawn from major private and public collections. According to a report by Museums and Galleries of NSW the exhibition drew a much larger audience for all three galleries and greatly increased retail sales. Another report on the UK Museums and Heritage website talks about the collaborative work being done by museums in Bath to gain a greater market share of visitors to the region which has a number of heritage attractions competing for local and tourist numbers. Jointly the museums have worked to develop audiences, engage community and be more strategic in their marketing and publicity in order to create a more sustainable and resilient museum sector.

It’s hard to predict the future for museums, but constant introspection and learning from the experience of others goes a long way to ensuring that visitors will keep coming through the doors.

Why have a museum collection? Lego to the rescue

Don’t get me wrong – I love Lego. It is a wonderful creative tool with endless possibilities but I am so sick of seeing it in museums and galleries as the main attraction.

Audience engagement is something that I’m passionate about. I don’t think that the museum sector can just sit back and wait for visitors to come through their doors because of a single exhibition or a Lego attraction. They need to build on relationships with their local communities and develop a substantial membership base, offering reasons for members to visit frequently. They need to be creative and flexible with their collections, providing a great package for tourists who may only physically visit the museum once in their lifetime and also for the “not so local”  visitor to give them a “taste” of what’s on offer. Realistically, a “taste” (and an entry price) which makes the visitor want to return to the museum the next time that they’re in town.

I don’t begrudge National Galleries Victoria (NGV) for harnessing Ai Weiwei’s talent to create a major new installation using Lego for the recent NGV Andy Warhol | Ai Weiwei blockbuster exhibition (December 2015 April 2016). Weiwei’s crowd-sourced Lego work focused on Australian activists, advocates and champions of human rights, freedom of expression, freedom of information and the internet and highlighted many of the current social justice issues facing all Australians. But seriously, everyone else needs to give Lego a miss for a while and work harder to attract visitors, particularly families, with innovative exhibitions and galleries using their own unique collections or borrowed works from other places which are in line with the stated vision and purpose of their space.

 

The Museum is our backyard

 

One of the most interesting facts that I have learned from my recent visitor studies at the Australian Museum was that many inner city dwellers use the museum as their backyard (metaphorically speaking of course).

I found that a number of families live in apartments in the inner city and have taken out museum membership to regularly come and play at the museum. I don’t mean running around kind of play but definitely spending hours in the Search and Discover section of the Australian Museum and certainly doing craft activities (when available) in Kids Space. This was a revelation to me because I’ve never lived in a small flat with children. My kids have had a backyard, local parks and plenty and activities available to them as they grew up.

For city based museums this is an interesting discovery. Most museums want to grow their memberships and attract repeat visitors and be known as being family friendly. If people are visiting often with children, particularly the pre school age group – are museums doing enough to keep those families and children interested? The usual museum approach would be to develop the Summer Blockbuster exhibition and limit most of the child focussed activities to school holidays only, but perhaps there are a number of children not at school who could benefit from some permanent free play spaces and child focussed exhibits all year round. Such spaces need not be underutilised and would be attractive to interstate and overseas visitors as well as school groups on excursions all year round.

Of course it helps parents to plan a family visit if you provide a link on your website like the Smithsonian Top 10 Kid’s Tips  or you are mentioned in an article like The 10 best Family Friendly Galleries in London.  Museums and galleries do have programs for families and put a lot of thought into being “family friendly” but do they also think about satisfying the frequent visitor or tourist that might not visit during school holidays or on weekends when most of these programs are available?