MuseumNext Part 3: Walker Art Center and its brilliant bees.

Having fun with web design and bees at the Walker Art Center

The opening keynote on day 2 was from Robin Dowden and Nate Solas, who presented the Walker Art Center’s new website, which to put it mildly is pretty awesome.

There’s been a lot of previous discussion about Rethinking the Museum Website, MCN had a brilliant panel about it last autumn, and Suse Cairns over at Museum Geek ponders about it a lot.  It was really great to see Nate and Robin talk about the actual process of designing, creating and overall flipping the concept of what is capable with a museum website on its head. A really nice way of summing this up is that the Walker is a safe place for unsafe ideas.

The objectives for the new website aren’t actually too dissimilar from most other museums’ to communicate the brand and mission, to promote programmes, and to facilitate physical visits.  But Walker’s implementation of those objectives is completely different.  The new website, which took more than two years to create, wanted to be an “idea hub”.  I really like classing and designing a museum website to be an ‘idea hub’.  It already sounds like a website you want to visit.

It also has content centred approach, or content based marketing, so in a way it looks and feels more like a magazine than a website, and, unlike many other websites who are designed to be the ultimate final destination, the Walker site sees itself as a node rather than an endpoint. In order to become a node museums need to start curating the web.  Their advice is that museums should concentrate on producing content that is unique to their institution, and that linking to someone else who knows more than them is a clear mark of confidence and authority. If that didn’t make sense here’s the tweet: “Curating the web gives @walkerartcenter authority online. Linking = authority.”

On top of that, there are lots and lots of gorgeous design and gorgeous content, which helps set the tone, and there are also some really nice user features, which play and bring fun to the site (bees, confetti, Cat Breaks and an awesome web comic).  What was really refreshing to hear, was the battle that they had to get the website to fruition.  You don’t normally hear about the difficulties of institutional buy in and departmental spats (even though we all know they happen, and are probably in the middle of one right now). So when they described what they called ‘user experience wars’  it all sounds so very very familiar, but something that is not often said outloud. From the Walker’s experience you should always focus on the user experience when demands from colleagues come in. Yes please. It would make my job easier.

I’m going to leave you with the Black Slide of the Keynote:

“People will engage with your organisation if you deliver content that adds value.”

Nuff said.

MuseumNext Part 2: Radical Change, Crazy Ideas and Dinosaurs in the museum

The opening keynote was given by Nancy Proctor, Head of Mobile Strategy & Initiatives at the Smithsonian.

Nancy started with a brilliant video about dinosaurs in the museum.  Provoking the question, was she referring to colleagues or objects? And is it just our perception that makes us see our colleagues as scary monsters?  This was a subject that progressed throughout the conference. Koven Smith presented the recurring theme of Us vs Curators, so digital engagement vs collections authority and ultimately  radical vs conservative.  It can often seem like that, but Bridget McKenzie reflected on her blog, that we really shouldn’t think like that anymore because “We should stop trying to define and critique ‘curators’ as distinct from those of us from learning, engagement, marketing and digital areas of work. We are all curators (even those of us who don’t work in museums) because we’re all stewards and interpreters of cultural commons”

Anyway. Stepping away from that.  Nancy discussed the Hype cycle for emerging technologies, highlighting that change does happen, but it isn’t really long lasting.  change is often revolutionary as it goes in circles, so today’s solution might not work tomorrow.  What is required is Radical change.  Change at the Root level means it is likely to be deeper and longer lasting.  However in order to do that museums need to rewire institutional structures of power.  This is easier said than done.

Nancy went on to deliver three clear messages:

Know yourself

• Know your mission
• Know where you a going.  Goals and priorities
• Know where you’ve come from (learn from your mistakes)
• Know your history as well as your present and future

Know your audiences

• Why are they visiting?
• Are they visiting at all?
• What do visitors want to know?

Let everyone in

Nancy then moved on to the idea that we need to start thinking outside the box and have crazy ideas.  Using Halsey Burgund’s Scapes as an example. Which is a fantastic audio experience and if that doesn’t inspire you to try something new, then I don’t know what will!

MuseumNext part 1: Skim, Swim & Dive, Web archaeology and Ontologies.

MuseumNext lanyards from http://www.flickr.com/photos/museumnext/

Last week I spent a wonderfully sunny couple of days in Barcelona for the MuseumNext conference.  It was great to catch up with of the museum geek crew as well as meet some new and equally inspirational people and projects.  It was also an opportunity to discover ginger and cardamom gin & tonic. But that’s another story.

MuseumNext kicked off with an opening debate on the future of museum collections.  It wasn’t a debate as such, more three separate perspectives on digital technology and museum collections. first up was Charlotte Sexton, from the National Gallery.  I love Charlotte’s presentations, they always go straight to the point and provide almost a checklist of things to think about.

Charlotte discussed the idea of game changing strategies for digital collections. Starting by comparing the in gallery experience of looking at art against the digital equivalent. Suggesting that the In gallery experiences is: curated, displayed. Physical engagement, minimal interpretation (authorities), minimal context provided, minimal connections between objects.  Whereas the online experience is: self-curated, digital surrogates, online engagement, multiple interpretation, multiple context.  it was really nice to hear that the lean in moment in the gallery is the equivalent of zooming in onto a high resolution image on the web.

The discussion then moved on to Strategy (I likes strategy) and some key pointers to remember when dealing with digital collections:

• Brand – your character and values, build on this.
• Decide your long term goals
• Focus on long term planning rather than quick wins
• Work with staff to capture collection cataloguing
• Tech is only one part of the equation
• Tailor content to multiple audiences. Charlotte had a nice analogy for this: Skim, swim and dive. 3 levels of audience! So from surface level to deep engagement.  But you cant just segment content into those 3 levels.  Need to offer a range of experiences
• Don’t limit online collections to the print paradigm
• Market and promote the offer (SEO/Strategic Partnerships etc)

A nice way to start the conference by thinking strategically about what is manageable, achievable and with an audience focus.
Next was Tjarda den Haan from Amsterdam Museum who discussed the topic of Web Archaeology. In essence how can you reconstruct, preserve and archive web data? UNESCO issued a Charter on the preservation of digital heritage in 2003, but it still remains a huge issue that all types of digital media, are extremely vulnerable to long-term loss, and little work has been done to preserve them.  Tjarda’s talk very much reminded me of Grand Theft Archive, an article by Paul Gooding and Melissa Terras, about the state of preservation of early computer games.   Tjarda explained that Amsterdam Museum are working on “digging up” De Digitale Stad (DDS) – the first Dutch virtual community, and the first free public domain virtual city in the world, which existed from 1994-2001. Basically, they’re collaborating with former DDS members, system administrators etc to recover as much data as possible and reconstruct the city as it was at different points in time.   It will be great to see what they achieve at the end of the project, and whether or not it is possible to systematically recover ‘lost’ digital media.

Finally, Sílvia Domènech From the Museum Picasso, discussed the new possibilities for digital archives.    Now this talk was in Catalan, so I felt like I was a member of European Parliament, with ear pieces and delayed translation.  I was so transfixed by the translator, that some of the presentation was lost on me.  But Silvia was discussing an exhibition in which they designed the museum exhibition to have an archival structure to it.  In essence using file structures and archival standards to display information in the exhibition.  So a visitor could search for information via person, or via relationship or via ontology category. It’s an Interesting way of designing an exhibition and I would be really interested to see what the visitors thought of the experience.

So these presentations set the tone for the next couple of days of the conference.  And provided a lot to think about, particularly about the nature of visitor experience with digital technology and what could be learnt from other disciplines.

Has the film started yet? Museums and Video

http://www.flickr.com/photos/thomasmilne/467620802/

Has The Film Already Started? is the title of suite of galleries at the Tate Britain, which focus on exploring the ways in which ideas or performance and the construction of narrative have evolved in art in the past 30 years. It was whilst watching a chandelier flash Morse code at me and the words appearing on a computer screen that I started thinking about how technology, in particular, video, is changing the relationship between museums and visitors and its impact on visitor perception and potential meaning gained and expressed from content.

There has been a paradigm shift in visual culture. Sounds scary, but it’s a good thing. It’s no longer just about the static image. Movement, light, visualisations as well as sound have been fully absorbed into contemporary-cultural practices.  New media technologies now play a key role in the work of many artists but also in learning, marketing, interpretation and in the evaluation of content in museums. Video in particular is something I’m spending a lot of time reading, watching and thinking about. I fall in love with ambient sounds, visualisations and moving image installations very very quickly.  They are really engaging devices for bringing me into a story, or history, or experience.  Lots of museums these days have video embedded into their websites, exhibitions and everywhere in between in lots of different ways:

• To provide opportunities for behind the scenes peeks and to share expertise. Ask a Curator is an excellent example of utilising video brilliantly to share curatorial knowledge and to answer questions.
• To extend the museum beyond what are normally capable, video clips from far flung places.  Check out the Manchester museum videos with curator Andrew Grey and Costa Rican Frogs (I like frogs) also the frog blog is great too!
• To get the visitors perspective. Video offers opportunities for visitors to say what they think, “video memories” as seen in the National Museum of Scotland and Tales of Things and the Tate’s excellent One-to-One with the Artist.

Museum’s provide a excellent platform for considering the ways in which recent technological changes have influenced the perception, uptake and dissemination of visual culture.  With video now available for anyone to produce and watch, almost anytime and anywhere—on mobiles, digital cameras, computers, or iPad’s—it has become the medium of choice for many museums.  Video content has a massive capacity for audience engagement. This was one of the strongest things I took away from MuseumNext earlier in the year.  The absolute power of video to get the message across. Whatever the message may be.

Whether it’s the Guggeheim’s YouTube Play

n8’s fabulous work bringing the freshness and vibrancy of a highly skilled young team to the cultural masses

Trailer Museumnacht Jaarverslag 2010 from Stichting n8 on Vimeo.

or Rich Mintz from Blue State Digital talking about the Obama Campaign and It Gets Better as prime examples of what video can do.  But stressing it’s about harnessing online but executing offline.

 

One of things that really struck me were Rich Mintz’ words “nobody cares about museums as much as you do!” Video changes that dynamic as this excellent video by the brand spanking new National Museum of Scotland shows

The opening of the National Museum of Scotland from National Museums Scotland on Vimeo.

A major part of my PhD is looking at how video can be used as an evaluation tool, to see if it’s possible to understand and evaluate visitor experience from recording their behaviour.  I wanted to work with video as I’ve played with the majority of user studies tools and techniques and this seemed like a challenge.  It’s all new to me, but I’m enjoying the experience.  I wonder if by the end of all of this video for audience evaluation will be just as pervasive as video for audience engagement.  It would be great if such a interesting technology gets used equally for both.

Snackable Online Engagement: Tips, lodgers and Rockstars.

Jim, Hugh and Sally gave lots of hints and tips on what makes great online engagment!

Hugh Wallace & Sally Manuireva from National Museums Scotland reminded us that ‘Stuff is social now’  and it is our challenge to get that same level of personal connection in the museum experience,  as you can get connecting with your friends and families on facebook.  The challenge is the hunt for this connection point.

Hugh’s had a lot of tips which were really easy to digest, and it shows how simple ideas can help to develop an exciting digital strategy and embed public engagement in their programmes.  Hugh expressed that you need to figure out which platforms are right for your museum, figure out the platforms you want to be on and how they complement each other and your collections.  And whilst you’re at it look outside the museum sector for inspiration, pay attention to tech trends, this will help no end.

3 simple things:

• Try New Things
• Be Responsive
• Know Why you’re doing it

NMS digital engagement tips:

• Have snackable content that is readily available
• online world facilitates real world behaviour
• People share their experiences
• Dialogue is the expected
• Information needs to be accessible

My favourite tips:

• Ask Questions first
• Don’t ignore what’s gone before
• Don’t get distracted by shiny things
• Make time for, and pay attention to, analysing your stats
• Employ a great team

Hugh also mentioned that No mobile strategy = no future strategy, I agree, but I think that mobile is the short term future. What’s past that? Is the Horizon report correct? What’s next is Gesture based computing and the Semantic web? Bring on the Computer vision!

Jim Richardson from Sumo, also had tips for us. 7 of them. 7 amazing tips on how encouraging audience participation can be an effective marketing tool. Jim is renowned for his excellent ideas and enthusiasm for audience engagement.  It was great to hear him speak, I’ve been a fan of Jim’s blog for yonks.   Jim Richardson from Sumo, is renowned for his excellent ideas and enthusiasm for audience engagement.  It was great to hear him speak, I’ve been a fan of Jim’s blog for yonks.  The Line between marketing and public enagagment is really becoming blured, particularly with digital marketing, but its very easy to slip into old marketing habits with digital media – broadcasting does not engage your audience. It’s all too easy to slip into old marketing habits with digital media – broadcasting does not engage your audience

top 7 tips for online engagement:

• Make Friends of your superfans.

Digging deeper into your followers- they do have influence Highlight talented followers. Get social media superfans to do your talking for you.

• Make content sharable and make it easy

put share buttons on every page.  Facebook “like” buttons can increase traffic by 1000%.  Personally I dont know if ‘liking’ something actually counts as a rich engaging activity for museum visitors, but you cant really argue with the increased traffic figures.  But Ideally I would want deeper engagement.  Like is the first step, but needs to be intwined with the other enagement possibilities.

• Encourage reviews and Guest Blog
  

do it and do it now

• Photography is your Friend –Dont ban it.

Ive never really understood why many museums still stick to his ‘no photogrpahy’ attitude, what exactly are they going to do? Please  facilitate visitor it is a quick win for making visitors happy. Jim pointed to the recent #museumpics project which generated 7,000 photographs and 4,000 tweets in 48 hours. Also Wikipedia Loves Art is similarly excellent!  Combing a wiki scavenger hunt and free content photography contest in museums!

• Take a lodger.

This I love! I would love to be a museum lodger for a month. Please somebody let me be a lodger! please please please! The Museum of Science and Industry in Chicago did an inspired Month at the Museum, because quite simply science never sleeps.

• Run a Competition

online or off. A great example of this is Yorkshire Favourite Paintings

• Treat Bloggers like Rockstars!! Play ARG with your audience.

 A great example here was the V&A Cold War Exhibition who created a ARG for bloggers. You can find out the whole story over at We Made This. Its brilliant.  It is also similar to the Smithsonian American Art Museum’s Ghosts of a Chance. Georgina Bath Goodlander really rocked this, and went as far as tattooing a body builder! All in the name of audience engagement.

Dealing with Difficult Subjects Digitally: The National September 11 Memorial and Museum

Many museums have a goal to produce a reaction from their visitors.  In the case of the National September 11 Memorial and Museum, it is likely that the reaction from visitors will be a very emotional one. They have a very challenging job of telling the stories  of an event that everyone can remember which many visitors are expected to feel emotionally and cognitively attached.  It was fascinating to hear how Oral History is going to be used; how voices and stories captured can be made accessible; victims, people who survived & those who will visit.  Digital technology serves their mission to create a collective history and the global impact of September 11^th still continues today.

Amy Weisser presented perfectly how to use technology appropriately to deal with difficult emotional content.  It reminded me of a Digital Think Drink at the Weinner Library, who hold the most extensive archives on the Holocaust and Nazi era. They were were asking the same questions, about issues of dealing with difficult content, what is appropriate, what is not?  One of the big questions that came our form the Weinner was is viewing distressing and difficult material online any different from viewing the same material in the physical space?  Something that9/11 are also working though.  Amy’s presentation was actually quite hard to watch; it was a hard hitting, but fascinating to hear their approach to such a monumental event.

I find it very difficult to go to War Museums and memorials, I find it very upsetting.  This has the same atmosphere, more memorial than museum.  I realise how important it is to remember the events of September 11th, but I don’t quite know if I can have a museum experience there. Nevertheless Amy presented brilliantly and showed the importance of preserving collective memory and the challenges of dealing with a digital medium and how powerful oral history can be.  The 9/11 memorial is hard-hitting, honest, and respectful. Mapping responses of individuals has such an emotional impact, drawing the audience in to reflect about their own experiences. It was an excellent example of ‘What’s Next’ in museums as 9/11 is set to open in 1212.

MuseumNext day 1: it’s people who make the space interesting

 

Fiona Romeo from the National Maritime Museum asked questions about how does a museum work as a social space? And how do you situate digital experiences within a physical location?

I really enjoyed Fiona’s talk because she tackled some really interesting challenges of incorporating digital technology into the physical space of museu.  The National Maritime Museum major new building the Sammy Ofer Wing will open to the public on 14 July 2011 and has been designed with engaging the audience experience in mind. Fiona highlighted that it is so important to think about the social experience when designing exhibits. Encourage cooperation and active role playing.  For an engaging museum visit it is important for the museum to direct the audience’s attention to the audience. It is the people who make a space Interesting.

Give your visitors a role to play in the museum

Inject playful role-play attitude into museum and engage your audience using theatrical inspirations. Social engagement on-site based on theatre and audience role-playing: disguising entrance and changing the tone will stimulate the visitor response. Changing visitors’ context and frame of mind shows the audience that they have an active role.  Fiona gave the example of The Science of spying at the Science Museum because it encouraged Real opportunities for audience to perform.

Use appropriate technology to create novel experiences

Fiona showed how the NMM are going to use appropriate technology to create novel experiences that play against context of the space, collections and public as well as the technology that visitors already have.  The NMM will set the tone from the very entrance and reception to build a great experience for your visitors.   In the entrance there will be large screen displays with live data to situate the visitor in time and place. The screens will be used as mirrors to reflect the museum visitor and the additional layer of technology, engaging with social media, in particularly foursquare page, as well as providing museum data reflecting a culture of openness and transparency.

Visiting Museums is tiring

Provide rest points where conversations can happen. The NMM will open the compass lounge where it encourages visitors to take their time, lounge around, reflect & research & make sense of the collections.  I love this idea:  A specific place for contemplation, conversation, resting sore feet and playing with digital data.

Objects become physical markers for more content

NMM new compass card allows visitors to orientate themselves via registering interest in specific objects on their personal card.  Wherever visitors see the Compass card symbol they will be able to find the hidden connections between people and the objects in the collection.  Objects used in this way become a service avatar for more information.  Compass card system allows visits to unlock additional data on objects they are interested in.  By giving visitors a card to unlock content it also gives the museum the opportunity to track what people have engaged with.  What’s really great is that after the visit individuals will be sent an ebook on things that have collected around their journey with a personalised cover which ‘feels like a really precious gift that’s based on you having taken more active route through the museum’. Awesome.

I can’t wait for the 14^th July, so I can explore!

MuseumNext day 1: Sparking Historical Imagination and vending machines

Jasper Visser from the Museum of National History of the Netherlands spoke about the importance of sparking historical imagination, where a museum has to be more than a building and more than objects.  I was really looking forward to Jasper’s talk because I missed his talk at Museums and the Web 2011.

Jasper is in an unusual position, as the Museum of National History doesn’t have a physical building, so he highlighted the innovative ways you can engage audiences when you aren’t bound by the traditional concepts of a museum.   What I loved about Jasper’s talk is that he was presenting very clear simple ideas. It is because they are simple concepts is why they have worked so well.

The first top tip from Jasper is to Go to where the audience are; both physically and digitally.  Museums need to be where the people are and need to tell stories. Don’t think of your museum website as a website, but as a service.  Where do the majority of people find information about history online? Initially through a search engine. Therefore that’s where your museum should be, and where stories should be told. Take museums to where the people are, and make museums the glue of the story, draw audiences to you.

Target your audience. Segementation does work for specific audiences. Jasper gave the example of connecting to architects by encouraging designs for what is your ultimate dream for a museum building? Showing how targeted design with a specific audience can work.  By directly addressing people with a specific interest you get higher and richer participation

Get the message out there.  One example of this is the National Vending Machine (Nationale Automatiek  the link is in Dutch)  a genius idea!  Amsterdam in particular is full of vending machine selling all sorts of greasy/ cheesy/ meaty produce to tourists, why not use something similar to sell culture? A vending machine which allows visitors to a museum to buy historical objects. The objects in the vending machine  tells a story about Dutch history  and are both historical and recognisable, like a  tulip or a bicycle bell  Each object, enables visitors to find out more about the objects on an attached label, see as a video or follow the URL to the website.

Think Beoynd Text and design Holistically. Jasper gave a great holistic overview of how to maximise reach and impact of projects. Use visitor senses.  Its not about text.  Pre-seed, across all possible channels, encourage potential visitors to use their senses, eyes, and ears, this is essential to generate the highest levels of social interaction & influence around museum events and exhibitions.   What visitors like is the stuff that goes to the eyes (Youtube), ears (Spotify) or heart (FB).  YouTube/Vimeo/Flickr etc can allow your event to live on beyond the physical event, and continue to have relevance to your audience.   Finally Jasper told us the museum visitor is like a bunny… Engage the bunny with all the online senses before the physical visit as well as after it.

MuseumNext Day 1: blinking, split second decisions and The wisdom of the crowd.

I’ve just come back from the excellent MuseumNext conference up in Edinburgh, two days jam packed with inspiration!  What I love about MuseumNext is its honesty, and its enthusiasm, odd things to describe a conference, but Jim Richardson and his team at Sumo somehow manage to make a conference a living, breathing exciting organism that seems to feed off the buzz from over 200 museum nerds in one room.  It was a brilliant experience, Stimulating talks from the great line up of speakers, followed by excellent conversations with new and old faces in the digital museum geek world.  MuseumNext focuses on how technology is changing the expectations of museum audiences and these two days focused on building active communities, empowering audiences and digital fundraising (a sign of the times with the cuts going deep in the cultural sector).

I’m going to take each speaker in turn and try and explain my main take aways from each.  The two days were pretty intensive and my brain has been overloaded with imaginative, exciting, engaging ideas.  But I can feel them slowly seeping out of my ears, lost forever.  Luckily there is a archive of all the tweets (day 1 and day 2) so you can get a feel for the information overload yourselves.

One of the main reasons to attend MuseumNext this year was of course the legend that is Shelley Bernstein (I bet she gets sick of hearing that) – Chief of Technology at the Brooklyn Museum.  If you want to know anything about engaging museum communities digitally you look to Brooklyn. Shelley and her team really are leading the way in which museums are engaging audiences through the innovative use of technology.  What a great way to open the conference!

Shelley opened with the idea that museums should be about museum experience, community and diversity.  One of the first thinks Brooklyn did was deal with the architecture of the museum, changing the imposing facade into an inviting Plaza.   The outside of the building has changed people’s perceptions of the museum.  Once you break down the initial barriers to entry you are more likely to open up a wider audience to the museum.  Changing perceptions of museum both physically and digitally produces the Youngest and most diverse audience in the country.

One of the key things Shelley raised was the importance of top down support and a clear mission. Brooklyn have a Visionary Director, who fostered  the ability to know, understand, listen to and provide a platform for their local visitor voice  which lead to a massive and diverse audience. Tip: Read the census, find out who your local audience is, and knowing this will make a difference to your organisation.  Brooklyn really is a community museum, local aftrer the locals and the rest will fall into place.  At Brooklyn audience Participation is central not off to the side or an after thought.

Another key concept was that the Ideas from the web team inspire the physical exhibitions. Brooklyn has created a strong sense of interdepartmental collaboration rather than silioing of departments which goes on in many museums.  Having a Great balance and interweaving of online and in gallery projects shows how this mix can produce real engagement with audiences and with museum staff. In order to do this you need to think about your advocates in the museum. Find your natural allies when trying to innovate.

It also came across strongly in Shelley’s presentation that if you want to create pioneering, engaging projects you need to read more. Books on my list are Blink by Malcolm Gladwell, who discusses the power of thinking, without thinking. And The Wisdom of Crowds by James Surowiecki.

In order to show what it means to think about the visitor experience Shelley discussed Two projects: Click; a crowd curated exhibition, an old timer of a project started in 2008, but still has such powerful audience engagement that is very much apt to be discussed as a project that should be nurtured by many more museums in the future. Click had a very quick turnaround, 6months from the idea being proposed to being installed and opened in the gallery.  The reason it worked was due to the fact that the question was taken seriously and valued by the museum as a whole.  Again highlighting how important vision and buy in are to a successful project.  The next project launched this year Split Second- Indian Paintings.   Visitors often make up their minds in less than 6seconds, how do you curate an exhibition to engage in under 6seconds? Split Second tries to answer that question. Both are outstanding for completely different reasons, you can read about them in full over on the Brooklyn site.  Personally I would love to explore some of the ideas raised in split second within my research, I can’t wait to have a ponder about the practicalities of this.  It’s at times like this, that I wish I had more programming skills. Yet another thing to add to the wish list.

Oh and Shelley hates Metrics (this made me happy) it’s about going deeper than the initial numbers and apparently once you get into looking deeper stats become “like crack.” You get hooked on them.

Finally, Shelley’s Key message was to lobby for ideas and take risks. Take risks seriously, without risks there is no reward.  Let the audience come with you and look at what happens, learn from it. Be deliberate and open and your visitors will love your museum.