Kajsa Hartig

A blog about Cultural Heritage and Digital Communication


Lämna en kommentar

#MuseumWeek is approaching #Blogg100

MuseumWeek2015 (kopia)

March 23 to 26 more than 1 000 museums from 44 countries are participating in the Twitter event #MuseumWeek. I encourage all museums to join, for the following reasons:

  • To get better at managing a Twitter account
  • To get to know the Twitter audiences
  • To test the museum organisation and the readiness to participate online
  • To have a dialogue with curious online museum audiences
  • To think twice about the museum’s digital identity
  • To be inspired and find new ways to communicate and mediate heritage
  • To increase the museum’s readiness to produce online content
  • And most of all: The break daily routines and have fun 🙂

———————————————————————————————————-

Blog post 14/100 #Blogg100-challenge


Lämna en kommentar

Keep calm and write 100 blog posts – again #Blogg100

keep_calm_blog

So tonight I just will not have time to write a decent blog post. And I’m not even inspired to write a simple post, or to share other people’s content. My thoughts on the blog challenge so far this year:

  1. Yes i DO need a content calendar, as I have for accounts that I manage for others, and it’s not that time consuming to create one. No 1 on my to do-list.
  2. It’s certainly tempting to work more with other people’s content. Curating, commenting and re-blogging. And why shouldn’t I? There are so many brilliant people out there already producing great content.
  3. I should spend time planning, when I have time, not when I am too busy to even think about content.
  4. Writing intensely each day is a valuable lesson and it is a boost to develop thoughts on social media and museums.

 

——————————————————————————————————————————

Blog post 11/100 #Blogg100-challenge


Lämna en kommentar

How to encourage visitor photography #Blogg100 #museweb


Visitor photography matters. This museums goes all in.

The trend to acknowledge and embrace visitor photography is vital for all museums. To what extent it can be encouraged varies of course depending on the museum. The issues with selfie sticks have to be resolved. But the benefits are undoubtedly many, and I would urge all museums to further explore the possibilities of visitor photography.

The Art in Island museum in the Philippines creates environments for the visitor to enter, and a possibility to create personal narratives that includes the museum. The settings encourage visitors to act in a playful way. It’s humour and it’s fun!

——————————————————————————————

Blog post 10/100 #Blogg100-challenge


Lämna en kommentar

Content and storytelling – are museums ready for it? #Blogg100

I think we all agree that museums are made for storytelling. The endless first hand sources of passionate, tragic, engaging and joyful stories cannot be found outside the heritage sector. Objects, documents and images are there to authenticate and enhance the stories. And digital isn’t new to museums, on the contrary. Today there are museums in the front line of digital innovation, and there are museums that aren’t quite yet there.

Regardless, the path to successful cross media storytelling is more challenging than anticipated. It’s about a number of things:

  • Digital and visual literacy
  • Communication skills across the organization
  • Social media skills
  • Storytelling skills
  • Knowledge-making – producing new knowledge from original sources
  • A clear overall communications strategy
  • Transparency and honesty
  • Regular and timely posting

And a few more things. Then it is also about:

  • Image editing and visual communications skills
  • Knowledge of copyright and Creative Commons
  • Long term planing for campaigning
  • Re allocating resources within the museum for content production and communication
  • Experts – whose expertise is communicated
  • Reallocating money for sponsored posts and premium services
  • Evaluation

But the most disruptive changes are probably:

  • Rethinking exhibition processes – to tie the stories across media together
  • Knowing the audiences – I mean really knowing (embrace Post Demographic mapping of audiences)
  • Mapping and mastering the public facing echo systems
  • Transforming the organization to better face the challenges of outreach in a social digital world
  • Working in cross departmental groups with many different skills
  • Real time communication – dialogue and responsiveness, not just scheduled content
  • Creating seamless experiences between online and onsite
  • Staying ahead – to be prepared for changes

Museums are storytellers, but in a traditional sense, primarily through exhibitions and printed books. The step towards truly mastering digital within the organization seems always almost out of reach, though tremendous progress is being made. What will it take to adapt to social digital? And is it an ongoing process that will never end, only evolve?

These are some first thoughts on the subject, that I will return to in some up coming blog posts.

————————————————————————–

Blog post 9/100 #Blogg100-challenge


Lämna en kommentar

What is the difference between a museum object and a photograph #Blogg100

Uncertain Images (eds: Elizabeth Edwards and Sigrid Lien)

Uncertain Images (eds: Elizabeth Edwards and Sigrid Lien)

One of the most important books on photography and museums was published last year at Ashgate: Uncertain Images: Museums and the Work of photographs,  It is a book that brings ”into focus the ubiquitous yet entirely unconsidered work that photographs are put to in museums.”

Photographs have through the decades been acquired by museums, and depending on the contemporary museum practices they have changed from scientific evidence, to documentation, to art, and also representations of museum objects.

So what is the different between a museum object and a photograph in the museum collections (and why does it matter)? First photographs are rarely documented on an object level and neither digitized as single objects – this indicates a different status than the objects that are always documented individually.

Secondly they are reproducible and as such they lack originality as an historical object. , ”with their authenticity, originality and cultural capital suspect, photographs, for the most part, lie outside the systems of value that produces museum objects. They sit low in that hierarchy.”

Thirdly, they are not considered as part of the holy object collections, but rather clotted together with documents, and placed in the Museum Archive.

Despite this uncertain and ambiguous status of photographs, they are today central to the museum’s own narrative.

The book Uncertain Images challenges the lack of attention to the roles, purposes and lives of the mass of humble photographs within museums.

The digital aspect of the role of photographs in museums are, in part, adressed by myself in Chapter 13: Digital Dilemmas: The Impact of Digital Tools on Photograph Collections. More on that topic in an upcoming blog post.

——————————————————————————————

Blog post 8/100 #Blogg100 Challenge

 

 

 


Lämna en kommentar

I have to admit – I get seasick by Oculus Rift #Blogg100

I get seasick by Oculus Rift. I’ve only tried it once, for two minutes, then I almost panicked (which is a bit embarrasing to admit).

The problem is I also get seasick when my son shows me new things he built on Minecraft, he moves around very fast. Or when he flies an air plane in other games. Getting on a real roller coaster would never occur to me.

That’s why today I was happy to read To Bring Virtual Reality to Market, Furious Efforts to Solve Nausea. So it’s not just me. In fact it’s a problem for the entire industry. Apparently some games causing nausea will still be allowed, but ”labelled as such” (!). I any case I am looking forward to the day when these issues are solved.

————————————————————————————————–

Blog post 7/100 #Blogg100 challenge


Lämna en kommentar

Transmedia and immersive experiences, the key to rethinking museums? #Blogg100 #museweb

Oculus Rift at Dreamstage.se. Photo: Kajsa Hartig, CC-BY-NC.

Oculus Rift at Dreamstage.se. Photo: Kajsa Hartig, CC-BY-NC.

On Day 6 of this Blogg100-challenge, 100 blog posts during 100 days, it’s time to write a few lines about transmedia and immersive experiences. These methods have been a buzz for quite some time, and are evoking a growing interest from the museums sector.

Immersion is the experience of losing oneself in a fictional world. It’s what happens when people are not merely informed or entertained but actually slip into a manufactured reality…..
…The current taste for immersion is largely a by-product of the digital age. Video games and the Internet have taught people to be active participants rather than passive observers; just looking is no longer enough. People expect to dive in, and companies as disparate as Disney, Facebook, and Burberry have been scrambling to oblige them.
http://www.strategy-business.com/article/00308?gko=92656

Immersion can be tactical (sensory-motoric) and involve skills, it can be strategic (cognitive) and offer a challenge or it can be narrative (emotional) where the audience invests in a story (source Wikipedia). Immersion is about creating a user experience, and so is transmedia storytelling:

Transmedia narrative thrives in a networked culture. Stories are now told across multiple media platforms, relying on readers to connect the dots. Popular fiction is increasingly organized around immersive story worlds.
http://blogs.cccb.org/lab/en/video_henry-jenkins-la-imaginacio-transmedia/ 

And to further quote Henry Jenkins:

Transmedia storytelling represents a process where integral elements of a fiction gets dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally each medium makes its own unique contribution to the unfolding of the story.

Mapping your museum’s digital eco system is important for many reasons. But mapping the museum’s entire eco system of communicative efforts, channels, platforms and strategies is just as important.

Planning for transmedia storytelling requires rethinking the museum, in order to create an authentic and relevant story world where the audiences immerse themselves in stories, or face challenges. The seamless experience where online is as important as offline or in gallery, has to be a priority. Perhaps it is the transmedia project manager who will lead the change?

—————————————————————————————————–

Blog post 6/100 #Blogg100 challenge