Posts Tagged ‘digital culture’

Museum3 – from network to not-for-profit!

Museums 3 Ning Logo 2010

Post by Associate Professor Angelina Russo.

It’s been just over two and a half years since we established Museum3.0. What started as an idea for connecting cultural professionals online, has grown to a network of over 2500 members and is still going strong!

Earlier this year, the network provider (Ning) announced changes to it’s structure. While these changes didn’t make a huge difference to us (we already paid for premium services) they came at the same time as we were realising that the network was now larger than we could have ever anticipated. With so many members, Lynda Kelly and I put our heads together to try and come up with a structure which would enable the network to grow and give us some entity through which to manage and sustain this growth.

The upshot?
We decided to incorporate as a not-for-profit organisation! This gives us a legal entity through which to advocate, create and develop new knowledge, projects and collaborations. It also means we can do simple things like book venues for conferences!!

With an initial executive board made up of the members of our current research project (Timothy Hart, Melbourne Museum; Sebastian Chan, Powerhouse Museum, Lynda Kelly, Australian Museum and myself, RMIT University) we are currently finalising the constitution so that we can establish ourselves in the next few weeks.

Why now?
To begin with, Museum3 was supported by our current collaborative research project Engaging with Social Media in Museums. This project explored the impact of social media on museum learning and communication. The project supported Lynda and my time to explore the potential of the network. As the project nears its end, neither of us would have a remit through which to maintain the network. By establishing as a not-for-profit, we are able to demonstrate an outcome of the project which, while unexpected, has benefits well beyond the academic papers which were written throughout the three year research program.

What came out of Museum3
Throughout the past 2 1/2 years a number of groups have formed on the network, enabling like-minded professionals to contribute to discussions surrounding the changes in the sector. Additionally, two specialised groups were formed by students to share their research and to create a global network of up and coming museum professionals. We are particularly proud of this outcome and hope to be able to support it further within the new organisation.

What’s next?
Earlier this week we published the ‘objects’ or aims of the organisation which will become part of our constitution. We asked the network for their thoughts and received terrific feedback which has enabled us to hone the objects to meet the needs of our network. It is this type of participation which is of particular interest to me as it demonstrates a dedicated, supportive and critical discourse within which to evolve.

We’re currently trialling the new graphics and establishing new features which will include tiered membership (an issue which we also posted to our network for feedback), our inaugural conference and first AGM (14 – 15 April 2011, Melbourne) and specialist research workspaces.

In the future we want to develop webinars, podcasts and teaching resources.

We’re very excited about these developments and are particularly proud of the thoughtful contributions we have received all the way along.

So, in the next few weeks, this is what we will become:

Museum3 – www.museum3.org

Museum3 is a global network for those interested in the future of museums, galleries, science centres, libraries & archives. It seeks to:

(a) Develop and maintain an engaged, creative and connected community of global cultural institution professionals and advocates; encouraging innovation through knowledge exchange, networking, research, design development and outreach activities.

(b) Provide an environment that promotes the evolutionary development of the cultural institution sector fostering the exchange of innovative online and onsite practices in a critical and supportive space.

(c) Develop positive perceptions by members, visitors and the broader community about the cultural sector’s role in inspirational and sustainable programs of communication, both onsite and online.

(d) Enhance and effectively share knowledge, ideas, skills and innovations about the cultural institution sector (libraries, museums, galleries, archives and broadcasters) by promoting movable cultural heritage.

(e) Provide advocacy and support to the cultural institution sector to develop and maintain partnerships with media, business, government and other cultural services organizations to facilitate cross-fertilisation of ideas, information exchange and joint projects to the benefit of heritage collections and places.

In the meantime, you can find us at www.museum30.ning.com

All thoughts and comments greatly appreciated!


Associate Professor Angelina Russo, PhD
RMIT University
School of Media and Communication
Building 9, Level 2, Room 4

Phone +613 99252753
Email angelina.russo@rmit.edu.au

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Macroscopic Views? Allsorts Online!

Matt Webb, a British designer for Berg a design consultancy company, gave the keynote presentation at the Web Directions South conference in Sydney (October 2009). Matt had some good points to make about design per se and the direction of web design in general and in playful ways used both science fiction and hiking as pivot points to discuss design. He used his experience of crossing and seeing the Grand Staircase-Escalante National Monument in the USA more poignantly to illustrate the idea that design is part of a significant grander scale shift socially that is only perceptible over long distance and time.
 
Matt is inspirational, because he is passionate about design and underlying that passion is a very clear understanding of the principles of flexibility and efficiency in form which underlies great design. The examples Matt drew upon were intriguing and unexpected. Public housing in Levittown, developed in the late 1940s for returned servicemen in the USA was his standout example. Matt drew parallels between the modularity and utility in the modern design of these homes; the potential to extend and modify and decorate was left in the hands of the owners – a point of difference for each family.

Levittown, PA

Levittown, PA

 
So… how does this relate to the collecting sector? Rather than get into great discussions of aesthetics, function and form in relation to web design and development…what I think also can be taken from Matt’s talk is the need for strong but flexible foundations that can evolve as needs evolve from the community or consumers or sector or industry you serve. I drew out this point in a presentation called ‘Eternal Cities?’ about moving from – being online – to – living online at the National Digital Forum in Wellington, Aotearoa New Zealand in November. Using a quote from a text called ‘Design and the Elastic Mind’ (based on an exhibition at MoMA in 2008) I hoped to get the practitioners from across the collecting sector in the room to think about what it takes to be practitioner (or designer/shaper of collections and access to them online) in a time of great social change.
 
..one of design’s fundamental roles: “the translation of scientific and technological revolutions into approachable objects that change people’s lives and, as a consequence, the world. Design is a bridge between the abstraction of research and the tangible requirements of real life.” Foreword, Glenn Lowry, Director, MOMA, Design and the Elastic Mind, 2008.
 
The Allsorts Online forum organised by CAN in partnership with the State Library of South Australia and the Australian Network for Art and Technology (ANAT) in Adelaide this week (1 Dec) at the State Library of South Australia was also kicked off with this quote. The forum was organised to allow diverse practitioners from across the collecting, academic, arts and media to step back and take a macroscopic view and spend time thinking about what it means go to online and how the lines between different sectors and professions seem to be blurring (or is it just that we are using the same tools of trade and having similar experiences and our points of difference remain intact?). The Twitter hashtag #allsorts09 from the forum is a cascade of tweets documenting the many ideas and diverse perspectives offered by the participants (audience, presenters and panelists) on the day.
 
While forum participants pondered and asked themselves questions, having listened to a mixture of experiences in working online, elsewhere, and earlier, debate about social change and what working and living online means had already emerged at Sydney Media140 focused on the future of journalism (as another profession heavily implicated in this shift to operating online). Seems digital culture is high on allsorts of minds… people are online and finding out what that means and/or well past wondering – see Stephen Collins’ acidlabs blog in response to Lyndal Curtis’ column ‘Too tired to tweet’ (ABC) for different perspectives on this.

Powerhouse Museum, Sydney. Part of the Sydney 2000 Games Collection. Gift of the New South Wales Government, 2001.

High heeled shoe on tricycle, `Liquorice Allsorts’, designed by Ross Wallace, used in `Parade of Icons’ Sydney 2000 Olympic Games Closing Ceremony, Sydney 2000. Collection: Powerhouse Museum, Sydney. Part of the Sydney 2000 Games Collection. Gift of the New South Wales Government, 2001.

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Kia ora, Greetings..

Ingrid Mason: CAN National Project Manager

 

 

I started last week as the national project manger for CAN. I decided it would be good to put a face to a name, and I look forward to meeting some of the CAN Partners at the Museums Australia conference in Newcastle in a couple of weeks (16-20 May) in Newcastle, NSW.

Outreach

As you know, CAN is posited in the Powerhouse Museum, Sydney and CAN service reach out across Australia and beyond. The Powerhouse Museum is familiar territory for me – I worked here as a web content editor and reference librarian about six years ago.  The rest of the community out there however are a big ‘unknown’ and I hope to become better acquainted with you.. and to learn some more ways of saying ‘hi’.  My latest acquisitions are ‘buongiorno’ and ‘privet’ thanks to Italian and Russian colleagues at University of Sydney (where I’ve just been working). The greetings above though, along with talofa lava, malo e lelei, kia orana, are a means of giving you all a hint that I’m from Aotearoa – New Zealand and I am an Australian citizen, with a soft spot for Pacific culture, and a love of diversity, different cultures, and things digital.

Handover

Work-wise, gladly, I am in very good hands: Seb Chan from the Powerhouse Museum is briefing me on where CAN is at strategically, Joy Suliman (now in the SoundHouse Vector Lab at the Powerhouse Museum, Sydney) is in the process of handing over CAN operations to me, Luke Dearnley is slowly acquainting me with things technical and Sarah Rhodes is easing me into the CAN website and blog.

Professional Background

To give you a bit of professional information about me: my background is in library and information management and I have interests in technology and research and a background digital cultural heritage and business development.  Prior to taking up this role I worked as the special projects manager (Digital Innovation Unit) at the University of Sydney.  In previous roles I have: managed a university digital repository, lead a web archiving team, and contributed to developing the requirements for the National Digital Heritage Archive in New Zealand.  So… I have a bit of cross-sector experience.. and I’m keen for more…and I look forward to working with the CAN community and across sectors.

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