MCN 2024

Since 2020, MoMA no longer offers print materials such as maps and brochures to onsite visitors. In their place, the Digital Product team at MoMA developed a Digital Visitor Guide to provide these and other onsite resources, such as audio, to visitors. The first iteration of the guide was put together quickly in the early days of the pandemic, and was a simple collection of links to existing online content and digitized versions of print materials.

Since then, user research and visitor feedback has highlighted some ongoing challenges that visitors face during their onsite experience and the ways MoMA’s digital materials fell short of alleviating them. PDF resources are difficult to use on a mobile device, and tedious to update internally. Exhibition listings are insufficient for visitors who are either not sure where to start, or looking for specific artists or works on view. The first version of the guide was also not built with accessibility standards in mind.

With these learnings, the Digital Produce team embarked on a process of designing, testing, and iterating on a number of new features and enhancements, such as an interactive map, floor-by-floor previews of exhibitions, galleries, artists and amenities, a streamlined audio experience, self-guided tours that cater to different interests, and an improved search experience for various types of onsite content.

This talk will cover the initial research that exposed these challenges, walk through the product design process of developing these new features, discuss insights and adjustments arising from rapid onsite testing that followed each iteration, and share quantitative metrics that outline the impact of all these changes. We’ll also discuss ideas for future features and improvements for the guide, as well as thornier challenges that we’re still exploring solutions for.

Though our discussion will not focus heavily on the technical aspects of our solution, we will briefly touch upon some important points such as geolocation, building a web-based onsite map without relying on an app or third-party software, and connecting the guide to our content management system to ensure exhibition, location, and artwork data is automatically kept up-to-date.

Artificial Intelligence has rapidly emerged as a transformative force in the museum community. As museum professionals, understanding the basics of AI and its implications to our industry is crucial. This presentation provides an overview of AI and delves into the various opportunities, challenges, and serious concerns that we must face together.

AI can offer the museum community tools from enhancing the visitor experience to improving how we do our business. AI-driven efforts can revolutionize how we do our work and foster innovation. However, AI in museums raises ethical concerns, especially regarding visitor data privacy and information biases. Equally important, over-reliance on AI might diminish the human touch, risking the loss of authentic, trusted connections museums aim to foster. There are real concerns about AI as it can distort, misrepresent, or oversimplify complex historical and cultural narratives. If not properly trained or contextualized, AI will perpetuate biases or misunderstandings. As museum professionals, it's our responsibility to approach AI with a balanced perspective, harnessing its potential while being mindful of its implications. Collaboration, continuous learning, and open dialogue will be key as we navigate this intersection of technology, innovation, and culture.

What is Digital Content? How do we create policy and strategy for digital without common definitions and a shared framework for managing digital content? How do we prioritize and resource digital content to support our institution’s mission and strategic goals?

To help answer those questions, cross-departmental teams at the Smithsonian set out to research and inventory digital content types, connected systems, and workflows. The project differentiates between digital content and digital assets, emphasizing that not all digital content holds long-term institutional value. Digital assets are specifically identified for their ongoing usefulness and significance to the SI. The project involved extensive stakeholder engagement, including interviews and surveys with 102 staff members across 32 units, covering diverse roles such as collections, conservation, research, content production, and data analysis.

The gap analysis section addresses the challenges in harmonizing collections data, managing born-digital collections, and ensuring effective digital stewardship. Recommendations include developing systems for aggregate collections data, providing sustained funding for essential digital systems, and creating tools and training for content transfer and management.

This session will highlight how we went about researching and communicating findings, as well as prompt attendees to consider the types of content they engage with in their day-to-day work, ensuring that valuable digital assets are effectively preserved, accessed, and utilized across one’s organization.

30min: presentation
Background on the project, process, and findings.
Links of resources, final report, and supplemental materials will be made available to attendees.
15min: group exercise and Q+A
We will invite users to contribute questions and add their own digital content types via QR code form to display real-time submissions.
We may also invite guests into our Systems Diagram Miro board.

Every museum has a digital strategy, whether it is formalized or ad-hoc. The challenge is to make that strategy useful and meaningful. This session presents three case studies that showcase approaches to making digital strategy operational and useful as museums look for new digital initiatives and innovation. The Spencer Museum of Art focused on the creation of a digital plan that operationalizes well thought-out institutional goals, and incorporated museum- and campus-wide input, and sought guidance from digital leaders across the museum sector. The Arizona State University Art Museum started from a broad assessment of where they were, and what peer institutions had done, in order to plan how to proceed. The Yale University Art Gallery approached planning after completing a major digital project, reflecting on what the project’s twists and turns said about the organization as a whole, and exploring how they might better plan for digital initiatives in the future. At Yale, digital strategy is an ongoing activity, managed by a cross-departmental team. In each case, digital planning is operational. It is focused on doing: where to start, what to do next, and how to measure and learn from doing. As such, digital planning bridges the visionary strategy with the nuts-and-bolts and day-to-day.

One of the challenges that digital technologies have made manifest in cultural heritage organizations is that there is more stuff than most staff have the time, attention or ability to devote to. In the past, before networked computers and compendiums of information like Wikipedia (or Amazon) changed people's expectations of what can and should be taken for granted, the cultural heritage sector dealt with this problem by hiding it in a flurry of words and never letting anyone see all the things stacked on shelves in the backroom. But people's expectations have changed and coupled with the calls for open access around our collections suddenly all that stuff, much of it uncataloged and unresearched, is seeing the light of day without much context. This session will discuss the organization and technical challenges that these new realities present emphasizing the questions surrounding the use of generative and artificial intelligence systems to address the cultural heritage sector's perennial "content deficit" and what many of the concerns about their use say about the sector itself.

With the approaching end-of-life of Drupal 7, our ongoing challenges of managing separate websites for museum visitors and online collections, the construction of a new physical museum, and an impending rebranding, it was clear that we needed to reevaluate the overall architecture of Gilcrease's online ecosystem. In this session, we will present a case study and share the lessons we've learned from the decoupled migration of the Gilcrease Museums Online Collections.

You might be wondering, what exactly is a decoupled website? What benefits, drawbacks, and compromises did we encounter during the transition to a new website architecture? What are our plans post-launch? We will address these questions and many more.

We'll share relatable experiences and obstacles that small to medium-sized museums often face, demonstrating the strategies we used to “lift and shift” the website migration while balancing innovation with budget constraints and timelines. Throughout this process, we aimed to minimize technical debt and adhere to a reasonable timeline, despite the temptation to add new features. Sometimes, we resisted; other times, we had to compromise.

We will also share key technical highlights such as:
- A brief high-level overview of the Gilcrease collections systems architecture including TMS, Library, and ArchivesSpace custom integration with DAMS and collections website.
- Overview of the Piction to Drupal integration and delta sync.
- Building, serving, and presenting IIIF manifests with Drupal and Clover IIIF.
- Enhancing performance and SEO with decoupled architecture.

Exploring AI and machine learning in art museums often feels like an exercise in separating hype, achievable near-term value, and potential long-term game-changers. In this presentation, the National Gallery of Art will share how that pursuit is playing out after 18 months of pilots with cross-functional teams in two priority use cases, with lessons learned to date and plans for the way ahead. First: after initial work to scan, run optical character recognition (OCR), and analyze exhibition response wall cards and visitor comments, the team found that an AI-powered chatbot built within the network helped quickly find insights among thousands of comments, unlocking new value from qualitative data. Second: as a part of ongoing transformation in exhibition planning and operations, machine learning helped mine a decade of data to predict attendance curves and gauge what drives audience engagement. The data science team will present data visualizations, predictive modeling techniques, and methods for natural language processing and chatbot development, while members of visitor experience and evaluation will share findings, time savings, and future plans from these two initiatives. Recognizing that the value of analytics projects is measured by the decisions and outcomes they inform, the session will address how the results are used and future plans for plugging into business processes, with relevance to any museum and an invitation to participate in ongoing analysis, benchmarking, and collaborative data culture across museums.

This is a joint session by the North Carolina Museum of Art and the Perez Art Museum Miami, two medium-sized art museums that have broadly increased capacity to collect and utilize data over the past three years. Our session will showcase digital capabilities to translate strategic goals into measurable and actionable metrics supported by integrated data workflows. Both institutions will share data methodology that supports internal accountability and continuous improvement, bolsters board and grantor confidence, and strengthens support of diverse artistic practices and relationships with members.

In 2021, NCMA created a Museum Evaluation position which has led to drastic increases in internal buy-in of data practices. Data is now collected across departments to produce quarterly and annual reports, and nearly all departments are beginning to think about how data can be leveraged to shape their projects. NCMA’s Evaluator, Melissa Dean, will highlight the work of several staff members in the larger context of interdepartmental collaboration. NCMA staff Kevin Kane and Heiker Medina will highlight data contributions toward collecting goals, marketing performance, utilization of our CRM system (Tessitura), as well as in-gallery and remote educational technology platforms.

The Digital Engagement department at PAMM is a relatively new venture funded specifically to empower a digital initiative that benefits the museum and its community. PAMM’s digital engagement group originally comprised three members, a department head, web developer, and data analyst, Patrick Fox. Patrick will share his work of finding and aggregating all of the data sources in a system that brings unique departmental data to each group for KPI monitoring. PAMM will also showcase their efforts to understand and increase collection artist presence on Wikipedia and a custom membership application for seamless check-in to museum events.

Above all, we are excited to share how building data workflows by combining existing computational knowledge and tools are encouraging formal digital strategies to informally emerge. This is an exploratory showcase of our works-in-progress collaboratively experimenting while learning from each other’s challenges. We hope that sharing our journeys from previously nonexistent or siloed roles to realized responsibilities in data reporting will inspire new projects and roles at your institution as it has ours.

The New Mexico State Land Office leases and manages New Mexico state trust lands. Much of that land has been leased for extractive practices such as oil and gas drilling. During her tenure, Commissioner Stephanie Garcia-Richards works closely with Indigenous communities to return stolen land to displaced tribes. In 2022, just over 2,000 acres were returned to the Fort Sill Apache Tribe. The tribe had been separated from their ancestral land since the US Government captured their forebears and put them in military-run internment camps in Oklahoma. The exchange was completed last fall and the land is now under the management of the Fort Sill Apache Tribe.

Every fall semester, NMHU’s Media Arts Seminar class collaborates with a cultural or community-based organization to develop an exhibit. In the fall of 2023, Professor Lauren Addario’s students Destiny Zukevich, Emily Clark, and Marlene Bad Warrior, worked with Ethan Ortega, Assistant Commissioner of Cultural Resources, and archeologists Carlyn Stewart, Anne Curry, and Adesbah Foguth at the New Mexico State Land Office (NMSLO). The resulting exhibit highlights the recent accomplishments of the New Mexico State Land Office’s Land Back initiatives.

The exhibition includes a video with perspectives from Indigenous youth talking about what land back means to them, a screen-based mapping component that draws attention to how tribal lands in the southwest are impacted by climate change, two graphic panels, and bookmarks that feature endangered animals and insects in southern New Mexico.

New Mexico Highlands University’s Media Arts & Technology Department has partnered with the New Mexico Department of Cultural Affairs since 2005. The program cultivates a homegrown pool of multimedia specialists working with cultural content and committed to serving their communities.

Museums are increasingly eager to leverage powerful software that promises to deliver valuable insights into growing audiences. However, implementing Customer Relationship Management (CRM) systems in organizations with limited budgets, uneven tech literacy, and varying definitions of audiences are guaranteed to be challenging. While CRMs can enhance visitor engagement, streamline operations, and boost institutional support, their configuration and implementation is fraught with difficulties, potentially leading to costly upgrades and reinforcing siloed data practices.

This panel will offer a candid exploration of CRM deployments drawing on the diverse experiences of three organizations and insights from three key departments: Development, Marketing, and Technology. Through these multidisciplinary perspectives, attendees considering the adoption or migration of CRM systems like Tessitura or Salesforce will gain a holistic understanding of the best practices and common pitfalls associated with platform implementation in cultural institutions.

Development departments across the museums collectively emphasize the importance of a CRM in enhancing donor relations and fundraising efficiency. Best practices include conducting thorough needs assessments, involving end-users in the selection process, and investing in comprehensive staff training. Common pitfalls are the underestimation of data migration complexities and resistance to change from staff who prefer legacy systems.

From the marketing perspective, leveraging CRM for targeted campaigns and visitor insights is essential. Best practices involve integrating CRM with social media and other digital marketing tools, continuously updating visitor data, and utilizing analytics for advanced segmentation and campaign adjustments. Pitfalls include data silos resulting from poor integration and the challenges of keeping up with constantly evolving digital marketing trends.

Finally, technology departments underline the significance of choosing a scalable and flexible CRM platform that can grow with the institution’s needs. They will advocate for rigorous testing phases, robust data security protocols, and continuous system upgrades. Key pitfalls include failing to inform critical stakeholders of how key decisions may affect long-term functionality, inadequate initial customization, lack of user-friendly interfaces leading to low adoption rates, and insufficient IT support post-implementation.

This panel will equip museum professionals with actionable insights and strategies to navigate the complexities of CRM implementation, ultimately enhancing their institution’s ability to foster deeper connections with their audiences and supporters.

With support from Institute of Museum and Library Services, the Internet Archive is expanding ARCH - a web-based computational research platform so that it can streamline gallery, library, archive, and museum ability to support a wide range of users interested in working with museums collections at scale. Museum specific collection functionality includes but is not limited to AI and ML driven methods that enable to speech to text, artwork color analysis, and transcription of text found in photographs. The Internet Archive's development efforts on ARCH are directly informed by partners at the Indianapolis Museum of Art and the Williams College Museum of Art. In this presentation representatives from the project will provide an update on the ARCH development roadmap, new functionality such as its ability to help users easily leverage AI and machine learning with museum collections, as well as a call for broader museum participation in ARCH development and use.

This session will present a case study of Monterey Bay Aquarium’s “tentpole weeks”, or specialized week-long cross-platform engagement campaigns: Shrimp Week & Sea Otter Awareness Week. From digital platforms across the web including social, SMS, and email, we want to make people stop scrolling for long enough to laugh, take a breath, and be awed by the ocean and its animals. We also want to provide incentive and opportunity for people to build affinity, deepen their relationship, and ultimately take action for the ocean.
In the past, we have participated in many more tentpole weeks such as shark week and cephalopod week. Overtime, we found our participation with all of these were very overwhelming as well as caused a drop off in engagement on our social channels. After we scaled back, we discovered a more focused approach yielded better engagement on our social channels and return on investment. In this session, we’ll describe what these tentpole weeks are and why they work, why sea otters and why shrimp. We’ll share general metrics and insights along with a video and a short presentation. We intend to include the audience in an interactive warm up with the infamous Shelly Skelly.

Museum collections are many things, but primarily they function as repositories of information, where data-intensive work has been conducted for decades. Like other knowledge infrastructures, the information in these collections is built on installed bases and requires highly skilled technicians to maintain these long-lasting digital systems. However, in representations of this computing work, women's voices and perspectives are under-appreciated, even though they have significant labor contributions in this area. This presentation will share early results from my dissertation, where I ask 1) What are the experiences of women doing computing work in museum collections? and 2) To what extent have they enacted non-normative/ transformative data practices in their work?

I answer these questions through semi-structured interviews with women practitioners engaged in museum computing. This presentation will share early results of transformative data work currently happening in collections led by women practitioners. The transformative paradigm is a framework that “addresses power issues, social justice, and cultural complexity throughout the research process” (Mertens 2007). I will share the results of the ways that practitioners are transforming collection data in ways that similarly center social justice and challenge oppressive powers. Part of understanding women’s contributions to museum computing is to further unpack their resistance to the harmful legacies of museum collections and their data. It is apparent that many practitioners working in museums have goals for their data to be inclusive, and to repair past harms of institutions, yet these practices vary based on institutional history, number of staff, and available funding. This presentation will share empirical evidence of work currently happening, adding to a more robust definition of what ‘museum computing’ can and should entail.

This research aligns with many conversations in critical data studies, urging for a more intersectional approach to data creation, maintenance, use, and reuse that is less oppressive to all (Benjamin 2019; Cifor et al 2019; D’Ignazio and Klein 2020). A further goal of this presentation is to deepen conversations between museum practitioners and work in big data studies, and more importantly, begin a conversation about what other data-intensive environments can learn from museum computing.