Museums beyond digital: content strategy, evaluation and institutional change at #MW2015

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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.

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Communicating cultural activities through many accounts: the case of CCCB of Barcelona

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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

#MuseumWeek: pros & cons from the point of view of Italian professionals

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.

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Micromecenatism 2.0: crowdfunding for cultural institutions in 5 steps

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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.

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How to tell a story with a smartphone? The 3 ingredients for a successful app

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Books, tv, bicycle adventures and so on, are not the only activities that children engage with in their daily lives. Tablets and apps have made their way under the Christmas tree, on the couch, before going to bed and even in classrooms.

We chatted with Federica Pascotto, co-founder of Art Stories, reflecting on how quality content and attention for details are key elements to engage children with culture through digital tools that also involve older audiences.

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Social media use by museum visitors before, during and after their visit: a useful tool of customer care

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As museum social media managers, have we ever really stopped to think about how our audiences use social networks before, during and after their visit to our institutions? How much useful it would be to reflect on these dynamics to plan better online strategies and maximize the limited resources at our disposal? Have we ever noticed how some of the information passing through social media could prove to be crucial to reconsider some key factors, such as curatorial choices, exhibition design, and audience research?
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