Since April 21st 2015, Google has officially released an update to the algorithm that controls the ranking of web pages, rewarding the visibility of mobile friendly websites. The decision of the American colossus is based on the observation that nowadays 60% of online traffic comes from mobile devices, and the new algorithm benefits those websites that offer user experiences tailored on the needs of those starting a research from a smartphone or a tablet.
But what does this mean for museums? What ground rules can be followed by those cultural institutions who want to “keep up” and make choices geared to the needs of the digital public?
A technological revolution is taking place right now. Military drones are completely changing the way war is fought, while civilian drones are having a deep impact on many other fields, from agriculture to aerial photography. Internet of Things is connecting devices at an increasing rate, creating a massive amount of data on which new, unexpected applications will be built.
Another year has passed and we are back from our third Museums and the Web Conference, so far one of our favorite! Five days of intense sessions, tours, workshops, social gatherings and museum fun can’t quite describe our #MW2015 week.
To all those that are a little bit curios about what the Conference was about, remember that all the papers presented are available online for free along with the ones from past conferences in Museums and the Web Archive, a giant pool of resources that can help us retrace the history of digital practice for cultural heritage.
If your hunger for #musetech #museweb #mtogo #musesocial projects is not yet satisfied, you can go through the amazing projects that won the Best of the Web Awards, Museums and the Web annual competition to award the best projects in different areas. Still hungry? Museums and the Web just opened the call for proposals for its Asian appointment in October, this year the #museweb crew will fly to Melbourne. Fancy a trip down under? You can submit a proposal no later than May 15th here.
Good practice wants the public to be central to any digital planning strategy of a museum. At the same time, active listening is a useful tool to identify expectations and interests.
Sometimes, to plan, organize and disseminate content by a museum that manages only one account on any social network can be challenging. What happens when communication is done by many voices and channels? And what to do when there is not a physical collection, but rather conferences, meetings, courses, or – yet – programs of film, literature and music to narrate the museum? Read more
As all the fans of digital and museums know, the 2015 edition of #MuseumWeek , the event “of the museums on Twitter” par excellence has just ended. From March 23th to 29th, cultural institutions around the world participated in large numbers and with an even greater number of tweets and interactions (according to statistics released by the organizers, 180,105 original tweets has been sent, with more than 423,000 retweets).
From architecture to souvenirs, from selfies to behind the scenes, through the activities reserved to the families and to the highlights of the collection, the seven themes chosen for this edition haven’t forgotten anything, providing rich opportunities to museums to share content of different types – and most importantly – create a unique opportunity for interaction between cultural organizations, users, visitors and other institutions.
Crowdfunding again? This term, as others related to digital in the cultural field, is likely to become the classic “buzzword”, the magic word that is believed to be a solution to all kinds of economic problems of cultural institutions, which are increasingly looking for new forms of funding to support programs and projects.