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Sessions: Project Management-Evaluation [clear filter]
Thursday, November 5


How Did I Become the Ringmaster? The Art of Juggling Digital Projects
Welcome to the circus! Whether a project manager by title or by accident, many of us who plan, coordinate, and deliver projects for museums receive little, if any, formal training in project management. Still, we juggle varied goals and, in collaboration with internal and external stakeholders, learn what works—and doesn’t—as we go. Even when we may feel as though we’re balancing on a tightrope, our communication tools, including scheduling management, spreadsheets, to-do lists, budgets, and reminder emails, form the invisible architecture of how projects reach their (sometimes rescheduled) launch dates.

Digital projects present unique challenges—whether it’s pressure from a director to develop an app or persuading a more traditional board of the importance of social media engagement—within an ever-changing environment. How do we manage expectations when digital is the elephant in the room? How do we identify target audiences and objectives, as well as stay true to them throughout the process? How can we collaborate across our institutions and help to increase digital literacy across all departments? How can we take a cue from professionals doing similar work in the for-profit sector and work in more agile ways while facing non-profit time and budget constraints?

In this session, we’ll bring together emerging and seasoned professionals who have played ringmaster to a range of digital initiatives, from small-scale, short-term projects to the opening of new museums. Members of this group have launched redesigned museum websites, managed digital resources for educators, produced mobile apps, and created in-gallery interactives. This session will include representatives from diverse institutions, including the Canadian Museum for Human Rights, deCordova Sculpture Park and Museum, The Field Museum, National Gallery of Art, and The Phillips Collection. Presenters will share about their current projects and processes, then participate in a round-table discussion with questions introduced by both the members of the panel and audience members.

Planned Panelists:
Meagan Estep, Social Media Manager, National Gallery of Art
Scott Gillam, Manager, Digital Platforms, Canadian Museum for Human Rights
Laura Hoffman, Manager of K-12 Digital and Educator Initiatives, The Phillips Collection
Jennifer Schmitt, Head of Information Technology and Electronic Communications, deCordova Sculpture Park and Museum
Susan Wigodner, Web and Digital Project Manager, The Field Museum

avatar for Scott Gillam

Scott Gillam

Manager, Digital Platforms, Canadian Museum for Human Rights

Laura Hoffman

Manager of K-12 Digital and Educator Initiatives, The Phillips Collection

Jennifer Schmitt

Head of Information Technology and Electronic Communications, deCordova Sculpture Park and Museum
avatar for Susan Wigodner

Susan Wigodner

Web and Digital Project Manager, The Field Museum

Thursday November 5, 2015 3:45pm - 4:45pm
Great Lakes A2 Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403
Friday, November 6


IIIF: The International Image Interoperability Framework
The International Image Interoperability Framework (IIIF) is an evolving set of APIs for image delivery. First created in 2011, it has seen rapid adoption by international libraries and archives, and in this talk we will explain how it can also benefit museums.

Using IIIF provides the twin advantages of flexible image delivery, and interoperability with a growing range of viewers and tools that promote digital scholarship and reuse. We will provide a brief overview of what IIIF is, followed by a guide for how to implement it (both in terms of processes and software options), followed by details of how to take advantage of its many features, which include on-the-fly generation of images at any size, zoom level, crop area or rotation, as well as the ability to use multiple different image viewers to surface metadata and relationships between images.

Finally, we will give real-world examples of how supporting IIIF can directly benefit your organisation, from the ease of updating website presentation formats, via the advanced features that can easily be supported, and concluding with some ideas for how IIIF can lead to innovative new ways to present and analyse your collection images.

avatar for David Beaudet

David Beaudet

Software Architect, National Gallery of Art
I'm a software architect and developer for the National Gallery of Art and am interested in open source development, open standards and protocols that enhance the discovery and amplify the enjoyment of cultural heritage resources.
avatar for Andy	 Cummins

Andy Cummins

Head of Technical Production, Cogapp
I work at for a digital agency in the UK called Cogapp. We work on ambitious projects that use digital media to enrich people's lives.As Head of Technical Production at Cogapp I'm responsible for ensuring our technical team works as effectively as possible. I'm a keen Agile proponent... Read More →
avatar for Alan Newman

Alan Newman

Chief, Digital Media, National Gllery of Art
avatar for Tristan Roddis

Tristan Roddis

Director of Web Development, Cogapp
Endangered Archives Programme: the world's most diverse online archiveThe Endangered Archives Programme (EAP) facilitates the digitisation of archives around the world that are in danger of destruction, neglect or physical deterioration. It has been running for over 15 years and digitised... Read More →

Friday November 6, 2015 10:15am - 10:45am
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


The Architecture of Open Innovation: Inbound and Outbound Paths to Museum Innovation
Due to economic and political motives, museums have been encouraged, and sometimes pressured, to embrace innovation. As a result, innovation has rapidly become an important topic in many museum conferences, workshops, publications, and social media discussions.

This trend has made museums more interested in innovation and inspired them to model innovation in their practice. Within this context, the proposed article utilizes Henry Chesbrough’s Open Innovation theory and a case study at Cooper Hewitt, Smithsonian Design Museum to provide a framework for museum innovation. The paper will introduce the structure of Open Innovation focusing on the role of inbound and outbound paths in advancing the organization’s innovation capabilities. Chesbrough (2003) defines Open Innovation as; “a paradigm that assumes that businesses both can and should use external ideas as well as internal ideas, and internal and external paths to market, when seeking to advance their technology”.

Empirical data derived from surveys and semi-structured interviews with members of the digital team at Cooper Hewitt, Smithsonian Design Museum has shown the existence of four Open Innovation paths including; Open Sourcing, Self-reflection, Collaboration, and Conferencing. Each path is explained with practical examples. Additionally, the research shows that the four identified Open Innovation inbound and outbound paths at Cooper Hewitt appear to be interconnected, and should probably be viewed as a whole rather than in isolation. It is noted, however, Open Innovation inbound and outbound activities can significantly differ from one museum to another. Each museum can plan their tailored Open Innovation strategies that allow the museum to innovate and effectively achieve its mission.

Finally, the paper concludes and provides some helpful tips for museums to develop an Open Innovation mindset.

avatar for Haitham Eid

Haitham Eid

Assistant Professor of Museum Studies and Interim Director of M.A. Museum Studies Program, Southern University at New Orleans

Friday November 6, 2015 10:45am - 11:15am
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


Going Beyond SETUP.EXE: Strategically Planning for Success!
Sponsored by the Information Technology SIG

From technical requirements to internal politics, implementing systems can be a rather daunting prospect. Our presenters share their trials, tribulations, and successes in dealing with technical and non-technical aspects of implementations. If you’re struggling with system adoption and success (or want to make sure you don’t!), this session may be worth attending. This round-table discussion will be lead by three technology leaders who have struggled, or want to minimize the struggle, for technology success. Via group facilitation, the presenters will engage the audience to discuss their success stories, as well as their lessons’ learned. Tim will be presenting some ideas and current progress on strategic planning to increase new CRM system adoption and buy-in, Rebecca will be telling the story of the process of turning several disparate and unrelated plans for digital asset management into a single strategy that will meet multiple needs across the institution, and Gary will be leading a discussion on creating a Digital Assets Management plan from a producer’s point-of-view, and creating a coherent and unified management of digital assets from multiple departments within the institution on a very limited budget.


Tim Rager

Director of Technology, Seattle Art Museum
Tim Rager is the Director of Technology for the Seattle Art Museum (SAM). Tim was excited to join SAM in 2014 to help deliver highly effective back-office solutions as well as digital experiences that enliven, excite and engage their community. Current projects include strategic planning... Read More →

avatar for Rebecca Menendez

Rebecca Menendez

Director, Information Services and Technology, Autry Museum of the American West
avatar for Gary Wise

Gary Wise

Director of Technology, San Antonio Area Foundation

Friday November 6, 2015 2:00pm - 3:00pm
Nokomis Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


Invisible Architectures: Supporting Public-Facing Technologies
Technology has become a common aspect of the museum visitor experience. Kiosks, mobile apps, ticket sales, signage, etc. combine to create the integrated experience our visitors expect. In order to provide this experience, these systems can no longer be developed and maintained as separate parts. It is necessary for interactive systems to share data and media, point of sale systems to share visitor data, and signage systems to link to event scheduling.

Supporting these systems has a significant impact on the museum’s technology infrastructure and systems. Networks have to support ubiquitous Wi-Fi for visitors, deliver streaming content to kiosks and apps, and support location based technologies. Collection Information and digital asset management systems have to be adapted to provide content to support interpretive projects in galleries and online. Multiple visitor information systems have to be integrated to provide the personal experience the visitor expects. All of this technology has to be kept running and updated.

Panelists will discuss specific projects at their institutions and how they are addressing these challenges followed by a QA session. Jane Alexander; Chief Information Officer, The Cleveland Museum of Art will present “Beyond Beta - CMA’s iBeacon Technology is Live” which describes how iPad, iPhone and Android smart devices engage 270 Bluetooth iBeacons that triangulate visitor location within one meter offering a seamless and rich experience of each work assimilating art history and education with intuitive essential video, audio, text and still-image content. Jane will also discuss how CMA’s analysis of visitor engagement and changing tastes and trends in visitor experience, guide exhibit layout and support materials as well as shape next iterations of CMA’s app ware.

Brian Dawson; Chief Digital Officer, Canada Science and Technology Museums Corporation will present ‘Digital Reboot: Building and Invisible Architecture from the ground up.” The Canada Science and Technology Museum is closed for major renovations until 2017, in which the museum experience is being completely rebuilt. The museum is undergoing a digital transformation, including a complete "reboot" of the digital experience. Brian will outline the approach taken by CSTM in rebooting the museum experience, highlighting lessons that should be broadly applicable to other institutions.

Bill Weinstein; The John H. McFadden and Lisa D. Kabnick Director of Information and Interpretive Technologies, Philadelphia Museum of Art will present “0 to 60 in no time” which describes how the IT department has had to adapt and grow the infrastructure and back end systems to accommodate to the increased usage of technology in the galleries. Bill will discuss the development of hardware standards for interactives, installation of supporting infrastructure, development of databases to track usage and how these projects affect budging and fundraising.

avatar for Jane Alexander

Jane Alexander

Cleveland Museum of Art, The Cleveland Museum of Art
I'm proud to serve on the Board of MCN - digital, strategy, data and innovationhttps://www.linkedin.com/in/janealexander
avatar for Brian Dawson

Brian Dawson

Chief Digital Officer, Canada Science and Technology Museums Corporation
@briandawson | @avspacemuseum | @AgMuseum | @SciTechMuseum | LinkedInBrian Dawson is the Chief Digital Officer at the Canada Science and Technology Museums Corporation, which also operates the Canada Aviation and Space Museum and the Canada Agriculture and Food Museum.  As CDO, Brian drives the development and implementation of the strategy for digital platforms, content, distribution and engagement through... Read More →

Friday November 6, 2015 4:30pm - 5:30pm
Minnetonka Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


Follow the Pen: Exhibition Metrics at Cooper Hewitt. Now What?
In December 2014 Cooper Hewitt, Smithsonian Design Museum reopened after a three-year renovation with a redesigned and reimagined dynamic twenty-first century design museum within an historic landmarked structure. Our vision was to create an environment in which design could be fully available and actively engaged in. Together, museum staff and the nine design teams embarked on a collaborative process to reimagine Cooper Hewitt, not only the Andrew Carnegie Mansion, but the entire campus, our brand, our education programs, and our exhibition strategies.Groundbreaking technology has shaped our transformation, and in March 2015 our electronic Pen was launched. It encourages visitors to explore and engage the riches of Cooper Hewitt’s collection and the depth of its exhibitions in ways that are only possible with technology.

The Pen is a rubberized wand with a pen-shaped tip at one end and an NFC antenna at the other. Not only does it work as a capacitive stylus on all of the digital tables newly installed in our galleries, but it can be used around the museum: each item on display at the museum that now has an NFC tag next to it (behind each object label). When you find something you like, or want to read more about later, just tap the back of the pen to the “collect” icon on the label, which sits on top of the tag. Lights on the Pen illuminate and a slight vibration confirms that the item's been recognized. You're essentially building your own personal collection as you browse the museum, and you're given a URL when you leave that lets you access that collection (or add to it when you return).

The content for this experience is drawn from the museum’s collection and delivered through the museum’s Application Programming Interface (API). Our TMS database holds all content for all object records, constituents, and links to other assets. A stylus combined with a vast museum collection database means that the museum is no longer just a few hundred objects inside our heritage building, but it is an experience that can follow you anywhere.The metrics gleaned from the Pen and our API promises to be a treasure trove. It is this moment in the museum’s journey, and mine as well, that I will focus on in my presentation. After two months we’ve surpassed 110,000 physical visitors, xxxx number of Pens have been dispensed, xxx,xxx objects have been saved with the Pens to personal visitor accounts, xxxx new personal accounts have been set up; and we can slice and dice the metrics in any number of ways.

So now what? As the head of cross-platform publishing—charged with developing all print and digital publications, exhibition didactics, and digital table content—I’m interested in making sense of this digital data by supplementing it with visitor response data. I am going to get out of the lab, and conduct user research. I plan to begin with sorting the data for the top most collected objects and then conducting in-gallery visitor research to inquire:What do you expect you’ll find? What do you want to find? Were you disappointed? Did the content deliver? What more do you want?

Over the next few months I will explore whether the label chat, table chat, and other exhibition didactics hold up or disappoint with our visitors. This information may be able to inform our interpretation and label-writing strategies. It might provide ideas for future exhibitions. What does it portend for the museum’s print and digital publications? My hope for this study is to draw relationships between our digital data and UI research to better inform and Cooper Hewitt’s content development.

avatar for Leifur Björn Björnsson

Leifur Björn Björnsson

Co-founder, Locatify
A founder of Locatify; a privately held Icelandic company who offers a platform (Creator CMS) to publish location aware content to mobile branded apps. Customers create guided tours or treasure hunt games for indoor and outdoor use on a mobile device – powered by iBeacon and GPS... Read More →


Micah Walter

Cooper Hewitt, Smithsonian Design Museum

Friday November 6, 2015 5:00pm - 5:30pm
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403
Saturday, November 7


Using Qualitative Methods to Evaluate Digital In-Gallery Experiences
As in-gallery interpretation continues to evolve with the integration of screens (including mobile devices, touch tables, and touch walls), so does museums’ ability to capture digital data on visitors’ experiences through these platforms—and with the ability to capture so much data digitally comes the tendency to do so. Without question, these data sets yield a wealth of new insight into visitors’ museum experiences. But digitally-captured quantitative data only tells half of the story. What about the insights that can only be gained by observing and talking with visitors?

Drawing on a series of formative evaluations conducted by Randi Korn & Associates, Inc. (the FuturEnergy Simulation games [on multi-touch tables] at the Museum of Science and Industry, Chicago, IL, the CENTC Multi-touch Table at the Liberty Science Center, Jersey City, NJ, and the Recollections touch-tables at the Museum of Jewish Heritage, New York, NY) this presentation will examine the efficacy and value of using qualitative methods to collect data when evaluating digital in-gallery components and experiences.

I will discuss findings from these studies that were uniquely captured using qualitative methods, the strengths and weaknesses of different methods for collecting qualitative data, and the importance of being rigorous when collecting and analyzing qualitative data. Using these studies as a basis for discussion, I will also consider some key questions related to using qualitative methods to evaluate digital in-gallery components and experiences. For instance, when might qualitative data actually yield the most insight into what your visitors are thinking, doing, and feeling? What is important to think about when considering using qualitative methods to evaluate digital components and interactions? And considering the wealth of data that museums are now able to collect digitally, what is the continued value of using traditional qualitative methods when evaluating digital in-gallery experiences? You will leave this session armed with an understanding of the importance of and systematic approaches for incorporating qualitative methods into evaluations of digital in-gallery components and experiences at your institution.

avatar for Cathy Sigmond

Cathy Sigmond

Research Associate, Randi Korn & Associates, Inc.

Saturday November 7, 2015 10:45am - 11:15am
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403


Designing Evidence: Planning the Data You Track to Capture Specific Behavior
Keywords: Google Analytics, customised metrics, Tag Manager, event tracking, data-driven decision-making

This session gives you all you need to obtain user-data specific to the unique design of your individual services. It shows you how to get data that accurately reflects how your audiences are using the features you intended them to, beyond standard analytics data. It is illustrated with real-life examples implemented in live V&A services and describes step-by-step how to achieve it yourself when you get back.

Who should attend this session?
You, if you are responsible for designing, developing or managing digital services and want to gather user-behaviour evidence that is tailored to your specific service, beyond simplistic page views, sessions and so on. This session shows you how to get subtler stuff using well thought-out event-tracking. With the techniques described, you can do things like: compare prior motivation with actual onsite behaviour; compare the relative use of different interface elements such as navigation; review gestural interaction on touch devices to how much people scroll, zoom or tap on specific content.

Prior knowledge
This session assumes a basic working knowledge of Google Analytics (GA), but does not require expert level. It shows how carefully designed event-tracking in Analytics can give you data that is represents audience usage of your services, and shows how to implement this within the construction of your specific services. The focus is on web features and apps, but the principles and approach apply to any format. Prior experience of GA event-tracking is not required. You’ll pick up enough to show you how it’s done.Why should you attend this session?This session will show you how you can decide what evidence you capture. You will see how to get the data you really need, to make decisions based on user-behaviour evidence, not personal opinion or preferences.

What practical skills or transferrable knowledge will you take away from this session?
This session will help you understand how to get useful, hard evidence of how people really use your digital services, by pre-planning the data you need to capture at the service design stage. You will learn how to analyse your service interface and how you expect audiences to use it, to plan the reporting you will need later, and then implement data-capture that delivers the specific data you need.The takeaways from this session will be most effective when used in the service design process. However we all manage existing services too. The techniques covered here can be applied retrospectively to your already-live services.

Some theory, some pragmatic technique and some audience participation… This session briefly discusses how Google Analytics event-tracking allows customisable capture of data, illustrated with examples of real-life services. It describes the advantages and limitations of the event-tracking data model. It shows how predicting how you will have to report data will help you design how you capture it. Using a prepared prototype service, the audience will be invited to suggest the most useful data to capture. Using Google Tag manager, we will then try to implement in real time some of the changes requested.

Finally, if time allows, we will take requests from the audience to look at their websites and show how data capture could be applied retrospectively

avatar for Andrew Lewis

Andrew Lewis

Digital Content Delivery Manager, Victoria and Albert Museum
I know about product management, managing digital delivery, technical management, data design, analytics, information science, making things with my hands :)

Saturday November 7, 2015 11:30am - 12:30pm
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403