the digital strategy ecosystem

The Digital Strategy EcosystemDouglas Hegley, Carolyn Royston, Jeff Steward, Janet Strohl-Morgan, William Weinstein

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Setting the StageDouglas Hegley @dhegley

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What is Strategy?

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Digital Strategy

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Digital Strategy

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ProsAdvantages and Opportunities of Digital Strategy● Emphasizes the transformative power of digital● Aligns digital efforts - frames decisions● Helps manage expectations● Provides clarity & transparency● Enables long-term success of digital efforts● Recognizes digital as a speciality area

○ Dynamic, still relatively “young”● Teaching tool across the org

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Cons?

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Cons Potential Pitfalls of Digital Strategy

● Adds unnecessary complexity● Confirms that digital is separate, in a silo - someone else’s job● Confirms digital as “extra” or “not core to mission”● Focuses too much on tech, leaving the people and purpose out● Sounds really, really expensive● Implies that digital is only a series of projects - a checklist● Reads as self-justifying (or even defensive)

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Today’s Session

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Listen for:● Essential “hot topics”● Importance of technology to organization-level success● People-centric perspective● Innovation & embracing change● Evolving leadership models● Practical knowledge

Here we go!

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The Start of a JourneyCarolyn RoystonDirector of DigitalIsabella Stewart Gardner Museum@caro_ft

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Isabella Stewart Gardner(1840-1924)

Anders Zorn (1860-1920)Isabella Stewart Gardner in Venice, 1894Oil on canvas, 91 x 66 cmIsabella Stewart Gardner Museum, Boston P17e10 13

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A Complex Offer

● Art Museum● Historic building● Modern building● Fine art collection, rare books, furniture, textiles,

archival materials● Contemporary program● Performance space for music and dance

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For our Visitors

● Not a traditional art museum● Immersive experience● No linear narrative● No labels● Make your own connections

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How can Digital help to transform the visitor experience?

Digital Stories

KnowledgePersonal &

Social connections

Open up access to

Collections

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Our starting point

● Siloed and disconnected systems

● Outdated website● Very limited onsite digital● Growing social media presence● Enthusiastic, heroic staff● Cautious management● Huge potential030

The way forward● Better understand the customer journey for our

different audiences and platforms● Build a digital ecosystem that can support our

ambitions● Prioritize projects and focus on impact● Prototype and experiment● Measure impact and create a feedback loop● Build staff confidence● Move at a sustainable, affordable and scaleable

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Digital Priorities Website &

Social MediaOnsite digital experiences

Collections Management/

DAMsCRM

IT Infrastructure

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So what have we been doing?

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My learning so far● Start up operation ● Manage pace of change● Challenge of ‘invest to save’ for unsexy projects ● Working in a US museum is different to the UK

AND● Huge opportunity to make an impact● Influence in every area of the organization● Increased staff engagement through new ways of

working● Momentum will bring rapid change

Digital Strategy 2.0William WeinsteinThe John H. McFadden and Lisa D. Kabnick Director of Information and Interpretive Technologies

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2013 Strategic Plan

Digital Strategy

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ENGAGING audiencesDramatically Increase Visitation and Strengthen Participation, Onsite as well as Online Through Digital Technologies

ENHANCING the visitor experienceProvide a More Memorable and Engaging Experience for Digital Visitors

ACTIVATING our collectionsBring the Collections to the Heart of the Museum Experience as the Principal Means for Increasing On-site and Online Participation

STRENGTHENING our commitment to communityFulfill our Role as a Civic Institution by Engaging the Community more Broadly and Serving as a Vital Resource for Arts Education

Collection Information Projects (2013-2016)

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• Imaged over 48,000 objects

• Added over 51,000 objects to online database

• Developed minimum catalog information standard

System Updates (2013-2016)

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• Deployed new admissions system and ecommerce site

• Deployed new Retail POS and ecommerce site

• Installed WiFi (public and private)

• Installed new fiber backbone

• Installed new VoIP system

• Updated network electronics

Interactive Projects (2013-2016)

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• Launched location aware mobile app using iBeacon technology

• Deployed new in gallery kiosks and immersive experiences

• Launched new collection section online

Engaging Technology Audience (2013-2016)

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• Held Minecraft event as part of design exhibit

• First Annual HackathonMarch 2016

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Digital Roadmap (2016-2019)

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• Updated Digital Presence (2016-2017)‒Cross platform integration‒Content strategy

•Development of mobile app (2017-2018)•Digital Museum

‒Recommendation engine‒Wearables‒Open museum api

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Princeton University Art Museum: Accessible CollectionsJanet Strohl-MorganAssociate Director for Information & Technology

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Circus Acrobats, 1981George Segal, American 1924-2000Plaster, 182.9 x 366.1 x 51.1 cm, Gift of the George and Helen Segal Foundation, 2009-80 a-c, Photo: Bruce M. White, © 1981 The George and Helen Segal Foundation*All works of art in this presentation are from the Princeton University Art Museum

Open Access to a Museum’s Collection

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Accessibility, as defined by Merriam-Webster:- Able to be reached or approached.- Able to be used or obtained- Easy to appreciate or understand

In Museum speak . . .

Open Access to a Museum’s Collection

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Open Access to a Museum’s Collection

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Open Access to a Museum’s Collection

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The Power of the Plan

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Making the collections and exhibitions accessible to students, scholars, and visitors of all kinds.

We will increase access to the Museum and its resources for teaching, research, and engagement by expanding and enhancing physical and virtual access to the collections, investing in information technologies, increasing the visibility and impact of our collections and exhibitions, and by making targeted improvements to the current facility.

Collections Discovery Initiative

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July 1, 2015 – June 30, 2020- Analog to Digital- Object-based Research- Publish online with improved Infrastructure and Retrieval Tools

Funding

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Money TreeChinese, Eastern Han dynasty, A.D. 25–220, Place made: ChinaBronze with ceramic base, h. ca. 135 cm., Museum purchase, Fowler McCormick, Class of 1921, Fund, 1999-79

Collaboration &

Communication

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Walking Alone in Empty MountainsChinese, Ming dynasty, 1368–1644, Zhu Bang, 16th century, Place made: China, Hanging scroll; ink and light color on paperPainting: 161 x 91.5 cm., mount: 249 x 102.1 cm.Gift of DuBois Schanck Morris, Class of 1893, y1947-135

Metrics & Impact: Making the Invisible Visible

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Progress: Achieving our Goal

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Shameless Plug for MCN SIGs: All are Welcome!

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Wednesday, November 25 – 5:45 pm SIGs Happy Hour, Rhythms Ballroom

Friday, November 48 – 9 am Vendor-sponsored SIG Birds of a Feather Breakfast, Ile de France A few open spots remain. See a SIG chair to sign up!12:30 to 1 pm SIG business meeting

Thank you!

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Janet Strohl-Morgan, jstrohl@princeton.eduCo-chair Strategy SIG, MCNAssociate Director for Information & Technology,Princeton University Art Museum

artmuseum.princeton.edufacebook.com/princetonuniversityartmuseumtwitter.com/puartmuseuminstagram.com/princetonu_artmuseumGreek, Double mask, Terracotta, h. 5.6 cm., w. 4.6 cm., d. 4.8 cm., Gift of Edward Sampson, Class of 1914, for the Alden Sampson Collection, y1964-125

Slide Two Credits (from left to right)

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Yoruba artist, Place made: Nigeria, Tunic, late 19th–early 20th century, Glass and stone beads, fabric, and thread, approximately: 101.6 x 71.1 cm., Museum purchase, Fowler McCormick, Class of 1921, Fund, 2012-77, Photo: Bruce M. White Chinese, Southern Song dynasty, 1127–1279, Place made: China, Guanyin seated in Royal-ease pose, ca. 1250, Wood with traces of blue-green, red, and gold pigments on white clay underlayer with relief designs, h. 110.0 cm., approx w. 79.0 cm., approx d. 50.0 cm., Museum purchase, Carl Otto von Kienbusch Jr., Memorial Collection, y1950-66 Protoclassic, Late Olmec to Early Maya, Place made: Southern Mesoamerica, Mexico, Guatemala, or Belize, Face pendant, ca. 400 B.C.–A.D. 200, Emerald-colored jadeite, h. 5.7 cm., w. 5.7 cm., d. 1.3 cm., Museum purchase, Fowler McCormick, Class of 1921, Fund, 2012-101, Photo: Bruce M. White David Smith, American, 1906–1965, Cubi XIII, 1963, Stainless steel, 289.6 x 208.6 x 55.2 cm., The John B. Putnam Jr. Memorial Collection, Princeton University, y1969-19, © Estate of David Smith / Licensed by VAGA, NY, Photo: Bruce M. White Hans (Jean) Arp, French, born Alsace, 1886–1966, Plastron et cravate (Shirtfront and Necktie), 1927, Cut and painted cardboard in painted wood frame, 51.1 x 39.1 x 0.6 cm., Museum purchase, Fowler McCormick, Class of 1921, Fund, 2012-1, © 2013 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Photo: Bruce M. White Claude Monet, French, 1840–1926, Water Lilies and Japanese Bridge, 1899, Oil on canvas, 90.5 x 89.7 cm., From the Collection of William Church Osborn, Class of 1883, trustee of Princeton University (1914-1951), president of the Metropolitan Museum of Art (1941-1947); given by his family, y1972-15, Photo: Bruce M. White Early Intermediate (Middle Nasca), Nasca, Place made: South coast, Peru, Spouted vessel with strap handle in the form of a seated man with a moustache and small goatee, A.D. 330–430, Ceramic, painted dark brown, dark tan, red, raw sienna, and cream, h. 11.7 cm., diam. 10.4 cm., Gift of Carol R. Meyer in honor of Gillett G. Griffin, y1990-15 James Edward Davis, American, 1901–1974, Prelude, Photograph, 27 x 34.5 cm., Gift of James Edward Davis, x1968-32 Edgar Degas, French, 1834–1917, Dancers, ca. 1899, Pastel with charcoal on tracing paper mounted on cream wove paper, 58.8 x 46.3 cm., Bequest of Henry K. Dick, Class of 1909, x1954-13, Photo: Bruce M. White

What’s happening at Mia?

Douglas Hegley

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Strategy

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Deepening Relationships

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Talent Strategy

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Source: http://www.slideshare.net/reed2001/culture-1798664/20-Great_Workplace_isStunning_ColleaguesGreat_workplaceSource:

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@dhegley

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Collaborative work environment

Together, toward common goals

Alignment with strategic plan

Workplace culture, applied

@dhegley

Workplace Culture Values

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Generosity - you give praise freely

Agility - you think on your feet and can turn on a dime

Emotional Intelligence - you leave the drama in the artwork

Positive Energy - your smile is infectious

Drives Results - you keep your eyes on the ball, setting goals and achieving them

@dhegley

Ecosystems?

We’ve got plenty of ecosystems ...

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The Small World Network Ecosystem, Simplified

Marketing

Registration

Exhibition Planning

Digital Experience Team

Media Production

What’s happening at HAM?Jeff StewardHarvard Art Museums

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We don’t have a digital strategy

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But we have a mission statement

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But we have a mission statement

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The Harvard Art Museums—the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum—advance knowledge about and appreciation of art and art museums. The museums are committed to preserving, documenting, presenting, interpreting, and strengthening the collections and resources in their care.

The Harvard Art Museums bring to light the intrinsic power of art and promote critical looking and thinking for students, faculty, and the public. Through research, teaching, professional training, and public education, the museums encourage close study of original works of art, enhance access to the collections, support the production of original scholarship, and foster university-wide collaboration across disciplines.

Lightbox Gallery

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An experimental space for the research and development of digital tools. Developed in collaboration with faculty, staff, students, and visiting artists, Lightbox Gallery projects challenge how we document, share, and examine collections and collections data. Some of these projects are responsive, allowing users to navigate and manipulate the collections; others are cinematic, transforming the museums into a landscape of digital performance. Exploration in the Lightbox Gallery is cross-disciplinary, merging a gallery experience with a digital lab.

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Ben Rivers: The Shape of Thingshttp://www.harvardartmuseums.org/visit/exhibitions/5307/ben-rivers-the-shape-of-things

Artist Ben Rivers collaborates with curatorial fellow Chris Molinski to define a project.

Ben R. and Chris M. discuss with technologists the feasibility of implementing the project.

Chris M. loops in conservators and curators to mine the collection and handle and research objects so Ben R. can produce raw material for the project.

Ben R. starts to produce the raw material for the project.

Ben R. shares raw material with technologists for prototyping and testing.

Everyone continues to work together to finish and deploy the project.

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How did we get here?

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Food

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Questions?

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Thank you

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