MuseumDigit

PROGRAM

MuseumDigit 2020 online conference

PAVILON A
Sharing the Digital

As Collections Manager at Europeana, Douglas supports Europeana’s mission by working with partner institutions to showcase their collections to online audiences. Douglas presents opportunities for Hungarian cultural institutions to share and promote their digitised collections with Europeana, focusing on editorial content such as galleries, blogs and exhibitions, and supported by active social media marketing.

Douglas McCarthy

Over the past two decades he has worked internationally in public museums, private art collections and image archives in a variety of roles, including photographic studio manager, researcher, curator and collections manager. Driven by keen curiosity and a love of visual culture, Douglas is a passionate advocate for making cultural heritage openly accessible to promote the exchange of ideas and to contribute to a thriving knowledge economy.

This is a presentation from MuseumDigit 2018.

Today, museums are looking into new developments in media and technology as a way to provide global access to collections and exhibitions. From online galleries and virtual tours to mobile technology and smartphone apps, museums are making exhibition content (texts, images, audios, videos) available to new and diverse audiences. At the same time, the interdisciplinary dialogue between art, science and technology creates multiple opportunities for museums to enhance visitor’s experiences through innovative and creative ways, resulting in more powerful and effective exhibitions.

Antonio Rodríguez

Senior-level consultant with more than 25 years of experience in museums, arts management, international touring exhibitions, strategic planning, project management, and strategic partnerships. Throughout his career, he has held various management positions in museums and cultural organizations in the United States and Latin America. Antonio serves as Chairman of the Board of the International Committee for Exhibition Exchange (ICOM ICEE), and Past Chair of the Latino Network at the American Alliance of Museums (AAM).

This is a presentation from MuseumDigit 2017.

On July 1, 2020, the EU project Danube’s Archaeological eLandscapes (full title Virtual Archaeological Landscapes of the Danube Region) was launched under the leadership of Universalmuseum Joanneum. For a total of 30 months, 23 partners from ten countries have set themselves the goal of making the archaeological heritage and in particular the archaeological landscapes of the Danube region more visible and thus more attractive at regional, national and international level with the help of state-of-the-art technologies. By incorporating Virtual Reality (VR) and Augmented Reality (AR) technologies, museum visitors are encouraged to explore the rich archaeological heritage not only in the museum exhibitions but also in the context of the landscapes from which they come. Thus they can also look beyond national borders and learn about a long-forgotten history of the Danube region.

Dr Marko MELE

Studied archaeology at the University of Ljubljana. He graduated in 2003 and got his doctorate in 2009. During his studies in 2004, he obtained a one-year research scholarship to do research at the Institute of Prehistoric Archaeology at the Free University in Berlin. After returning from Berlin in 2005, he was employed at the Regional Museum Ptuj-Ormož and in 2007 continued his work at the government office of the Republic of Slovenia for local government and regional policy. Since 2010 he has been the chief curator for Prehistory and Middle Ages at the Universalmuseum Joanneum in Graz. In the past 10 years, he led different EU projects, like InterArch-Steiermark, Iron Age Danube, PalaeoDiversiStyria and Danube´s Archaeological eLandscapes. 

What do museum professionals need to thrive in a digital environment? How can museum professionals be equipped with the skill-sets responding to the ever-changing needs of society? What are the digital and transferable competences in the museum sector? Digital transformation needs museum professionals with new competencies, adequate to the future needs of the institutions and the public that they serve. Mu.SA project identified the necessary skill sets and created tools to help museum professionals to acquire these competencies. Find out how museums can address digital transformation and embrace the new opportunities to become a part, or even the leaders, in the future of the cultural scene that will rise.

Alexandre MATOS
Museologist, Mu.SA Project Manager, ICOM Portugal

This is a presentation from MuseumDigit 2019.

CIDOC is an international forum for the discussion of all issues relating to information management in museums. We provide the museum community with advice on good practice and developments in museum documentation and actively develop standards and guidelines to support museum documentation and information management in museums. The work of CIDOC, mostly done in Working Groups, covers topics like Digital Preservation, Documentation Standards, Documenting Intangible Heritage etc. Current activities will be presented at the conference.

Prof. Monika Hagedorn-Saupe

Studied mathematics, sociology, psychology, and education with a focus on adult education at the Ruhr-Universität Bochum, at Kings College London, and at the Freie Universität Berlin. Since 1985, she has been staff member of the Institut für Museumsforschung. Since 1994, she has been the head of “Visitor related museum research and museum statistics” department and acts as the Deputy Director of the Institute. She is president of CIDOC (the documentation committee in ICOM) and chairs the Information Centres Working Group in CIDOC. She is Professor in museology at the University of Applied Sciences HTW in Berlin/Germany, and teaches terminology in museums in Krems/Austria.

This is a presentation from MuseumDigit 2018.

AI has rapidly become a part of our everyday lives – from ordering an Uber or suggesting our next Netflix binge. It’s now creating smarter, engaging and dynamic museums. From visitor facing experiences to behind the scenes operations, dive into the mysterious world of big data analytics and AI, discover case studies and ethical dilemmas and see the future through the lens of this new era in museum technology. 

Angie JUDGE
Big Data expert, Dexibit

This is a presentation from MuseumDigit 2019.

PAVILON B
Digital Pioneers

When Chris Michaels joined the National Gallery as its Director of Digital, Communications and Technology, he was deemed dangerous by a former colleague – but why? In this conversation we find out what we get wrong when it comes to digital, how digital disrupts but also deepens museum experiences and why being an innovative museum is not a question of screens.

Chris Michaels 

Director of Digital, Communications and Technology at the National Gallery, London where he sits on their Executive Committee. At the Gallery, his Directorate has responsibilities for digital services, membership and ticketing, creative, IT and marketing, press and public affairs. Before he joined the Gallery, he was Head of Digital & Publishing at the British Museum, where he founded their digital department and created their digital strategy. He acts as an advisor to the Humboldt Forum, a new institution being built in Berlin. He has acted as advisor to museums in Qatar and Singapore. Before entering the world of Museums, he was CEO of educational start-up Mindshapes. He has led digital functions in TV, publishing and advertising. He has a PhD from the University of Bristol. Chris lives in North London.

Telling the right story in the right way, on the right social media platform, can change how an audience learns from and appreciates your work. By implementing some simple mantras, you can amplify your impact on digital and consolidate a community around the stories you tell. Here’s how.

Ivor Crotty

His team created the multi-award winning digital history projects #1917LIVE (What if Twitter existed 100 years ago?), #Romanovs100 (4000 photos, 14 platforms, 1 family) & #PagesofVictory. He is a former potato-picker, shelf-stacker, factory worker, sociologist, journalist, lecturer and editor who now combines digital newsroom skill sets with trans-media storytelling to create a methodology for digital that he is very passionate about. He is Deputy Director of Creative & Innovation at RT (Russian Today).

M9 – Museum of the 20th Century, the first fully interactive museum in Venice, Italy, has made multimedia and interactive technology its distinguishing mark. Opened for a little more than a year, it is an experiment in constructing a semi-permanent exhibition space that can challenge the common understanding of “museum”. It utilizes a massive amount of technologies sustaining a certain storytelling on a wide scale, focusing on a poorly investigated topic in the Italian museums’ system, and dedicated to an audience – composed of young and very young people – that, within the museological choices all around our Peninsula, has often been regarded as ancillary. An unusual crowd-designing system, that involves five multimedia and interaction design studios, an architect and a graphics coordinator – as well as more than 42 specialists of diverse historical, arts, social, statistical and ICT disciplines – has led to stage over 60 different interactive installations, that transform M9 in a huge archival hub connecting over 150 libraries and historical archives and call out the visitors to have new approaches to knowledge. The talk retraces the path from the very first idea of creating M9 to the release of the permanent exhibition, showing highlights of such a complicated design process. 

Michelangela Di Giacomo

A historian specializing in contemporary history, Michelangela she has been designing the permanent exhibition of M9 since 2015 where she works in the Research, Development and Educational Department. She won the Prize of the Italian Senate, the Prize of the Presidenza della Repubblica and the one of the National Association of Italian Cities for her works on migrations, political parties and urban development. She was twice scholar at the Institut d’Estudis Catalans, focusing on the Museu d’Història de Catalunya. She writes a column in “Spagna Contemporanea” journal on public history and museum in Spain. She held numerous workshops and seminars for MA and PhD students. 

Livio Karrer

As a historian, Livio researched cultural and political history of twentieth-century Italy focusing on the evolution of civil rituals. He wrote several essays on civil funerals of major political actors of post-war Italy and on the political relationship between Italian communist and socialist parties in the 80’s. He is a member of the editorial board of “Memoria e Ricerca” review and collaborates with “Mondoperaio” journal. His interests and research later turned towards the Public History field, he is one of the founding members of the Italian Public History Association (AIPH). Since 2014 he has been working with Fondazione di Venezia for the development of the M9 Museum project where he joined the content creating team. He attended the Advisory board ideation phase and then helped set up the permanent collection. He’s now curator for the M9 Museum.

Studio Louter makes award-winning exhibitions all over the world. They use emotion design to find the essence of a story and turn it into an engaging experience. Barend tells us how they applied their method in two award-winning projects: the permanent exhibition of Rijksmuseum Boerhaave, and a temporary exhibition about the exotic dancer Mata Hari, who was executed for espionage a century ago. A unique insight in the working method of one of Holland’s leading exhibition design agencies.

Barend Verheijen

Barend is the head of the Content Department of Studio Louter. As Creative Partner, Barend is responsible for concept development, storylines and all content production. He has almost 20 years of experience in the museum world. Before he joined TWV Media (Studio Louter’s precursor) in 2000, he was an education coordinator for the Germany Institute in Amsterdam and a researcher for Clingendael, Netherlands Institute of International Relations. He studied History at the University of Amsterdam.

This is a presentation from MuseumDigit 2018.

An extraordinary museum lies hidden under the busy centre of Amsterdam which visitors can view with a metro ticket. With the extension of the underground line, some 700,000 objects were unearthed from the old river bed of the Amstel River. The Rokin metro station is now home to the special exhibition that presents life in Amsterdam through ten thousand objects dating from AD 1200 to 2005. They are grouped by various themes, such as Buildings and Structures, Science and Technology, Food and Consumption or Games and Recreation. The city archaeologist of Amsterdam, Professor Jerzy Gawronski unveils the secrets behind the creation of the Below the Surface project and introduces us to its spectacular website.

Prof. dr. Jerzy GAWRONSKI
Professor of Archaeology, University of Amsterdam

This is a presentation from MuseumDigit 2019.

Since 2016, the Airborne Museum is interested in using new technologies as a tool to transmit history and memory. The first step was an app in 2016, the second step was the creation of an immersive visit, using a tablet. Thanks to Histopad, the visitor dives into the history of Sainte-Mère-Eglise during WWII, using the artefacts as a time machine that take the visitor back to 1944.

Magali Mallet

Studied marketing and tourism, worked as a consultant to communities and was director for 7 years of an organization in charge of tourism development of La Manche (Normandy, France). She has been the director of the Airborne Museum of Sainte-Mère-Eglise since 2013.

This is a presentation from MuseumDigit 2018.

Kati and Dafydd explore the changing structures and relationships that characterize digital teams and their colleagues, and what this means for digital responsibility in the organization. They include key insights and practical advice to help organizations of all sizes understand how best to redefine the role and mandate of the digital team, and align for success.

Dafydd James

He is leading digital transformation at the National Museum and embedding user-focussed services across the museum by improving our project and product management methodologies, working on an internal digital skills framework and developing a more distributed model for digital content and audience development.

This is a presentation from MuseumDigit 2018.

Kati and Dafydd explore the changing structures and relationships that characterize digital teams and their colleagues, and what this means for digital responsibility in the organization. They include key insights and practical advice to help organizations of all sizes understand how best to redefine the role and mandate of the digital team, and align for success.

Kati Price

Head of the digital media and publishing at the Victoria and Albert Museum, managing a team that works in technology, design and content. She’s responsible for the brand and user experience of the V&A’s digital estate and oversees content commissioning and production across digital and print. Passionate about user-centred design, content and the digital realm, Kati has worked on award winning digital products and services, is a mentor and coach and regularly speaks at international conferences.

This is a presentation from MuseumDigit 2018.

A beautiful bronze incense burner from Egypt and a shining golden sword from the National Museum in Budapest. What do they have in common? Find out using the Cross Culture Timeline. The Cross Culture Timeline (CCT) is a digital tool developed to support a travelling exhibition curated by CEMEC (Connecting Early Medieval European Collections) consortium of ten European museums and cultural institutions. The aim of the tool is to place objects from different museum collections in Europe in their historical and geographical context and to connect them by themes.  This presentation shows how the CEMEC institutions, together with the technical partner Noho, developed and adjusted the CCT to support the semi-permanent exhibition spaces in the Allard Pierson in Amsterdam.

Laurien DE GELDER
Curator, Allard Pierson

Karolina BADZMIEROWSKA
Heritage Account Manager, Noho

This is a presentation from MuseumDigit 2019.

PAVILON C
Museums and Social Impact

What’s an ecologist got to do with a museum conference? Actually, a lot. Ecologists, just like museum people, do their best to save, to preserve, to show the treasures of the world. In the light of the climate emergency and the loss of ecological diversity, how does a system ecologist think about change, adaptation and preservation? How does all this relate to the activities of museums? What is worth changing or should we just keep things as they are? How can the key messages of climate protection be communicated effectively? Based on the discussion, we can think about these issues with the head of a systems ecologist.

Dr Ferenc Jordán

He was among the first scientists to warn of the coronavirus epidemic that seemed distant at the time last September, and in the media he always makes striking and original statements about how we play Russian roulette with nature – that is, our own and our children’s future. He is a biologist, systems ecologist, doctor of genetic sciences, director of the Balaton Limnological Institute in Tihany and an external staff member of the Stazione Zoologica in Naples. His focus is on biological networks and has worked in various departments of Eötvös Loránd University, Budapest,  the Museum of Natural History in Budapest, the Microsoft Research Institute in Trento and the Wissenschaftskolleg in Berlin. His research has covered such exciting topics as sustainable fisheries in marine ecosystems, marmot social relationships and the vulnerability of the London Underground network.

While museums have begun to be sensitive to the notion of sustainable development in the last decade, the ecological transition of the sector is very slow and often restricted to technical rather than structural or systemic transformations. In order for the transition to be not only technical but also systemic, cultural and behavioral, we need today to apply a systemic perspective to the sector so that the transformations are deep, local and global. Getting inspired by Nature can help us consider things within a symbiotic ecosystem and foster change with a long-termism approach. In her talk, Diane explains how nature-thinking and system-thinking approaches can accelerate the transformation of museums towards climate champions and systemic change-makers. It revolves around the programme Museums Facing Extinction and the 4 levels of actions for museums to start their climate journey.

Diane Drubay

Founder of We Are Museums, museum mentor, event curator, community builder and artist. She has accelerated the transformation of museums internationally since 2007 with her vision of a future respectful of people and the planet empowered by innovation. Today, her main spearheads are around the climate emergency, extended realities and local communities engagement. Her values inspired the creation of We Are Museums, a community of international museum change-makers working towards a climate-resilient future empowered by social and technological innovation. Beforehand, she created the museum digital strategy agency Buzzeum. She also founded the Museum Think Tank Berlin, co-founded Museomix and is currently the conference curator of Museum Connections. Previously, she worked at the French Ministry of Culture and Communication and at the Henner Museum in Paris. She is also a video artist and photographer, investigating psychoactive and transcendental experiences through images of nature to expand the idea of the sublime. 

The Horniman is London’s only museum where nature and culture can be seen at the global scale. This has led to a new mission focused on shaping a positive future, in which combatting the climate and ecological crisis plays a major role. The talk shows the actions that the Horniman has taken over the last two years, from the declaration of a climate emergency, to practical actions around reducing waste and greenhouse gas emissions and increasing biodiversity. Importantly, Nick will emphasise the role of museums in encouraging visitors to become active citizens themselves, to make changes in their own lives and demand action from governments and corporations. 


Dr Nick Merriman
 

Chief Executive of the Horniman Museum and Gardens in London since May 2018. He has refocused the organisation to take advantage of its position as the only museum in London where nature and culture can be seen together. Previously he has been Director of the Manchester Museum, Reader in Museum Studies at University College London, and a curator at the Museum of London. He is Honorary Professor of Museum Studies at the University of Manchester.

Museums need to reinforce their commitment to the formation of public value in order to stay relevant to wider sections of society. Professor Drotner argues that one way forward in this direction is for museums to move beyond defining inclusion in terms of specific (underserved) groups. Based on results from a national Danish R&D program, Our Museum, the presentation exemplifies how designing for cultural citizenship can operate as a key catalyst of public value by creating spaces of contested dialogue and debate both online and offline. She then discusses what it takes to develop such spaces and, importantly, document their importance to citizens.

Kirsten Drotner 

Professor of media studies at the Department for the Study of Culture, University of Southern Denmark, and founding director of two R&D programs, Our Museum and DREAM: Danish Research Centre on Education and Advanced Media Materials. Author or editor of more than 30 books and over 150 scholarly articles and book chapters, her research interests include media history, media and information literacies, digital creativities and museum communication. Her latest book is The Routledge handbook of museums, media and communication (co-edited, with V. Dziekan, R. Parry & K.C. Schrøder, 2018).

The “D” word: diversity. Maybe we are too used to it, or to its being misused. Yet, undoubtedly it is paramount for museums to represent society as it develops and to shed a continuous light on the concept of diversity, its implications and ramifications, mainly in the form of open debate and a dialogic platform. To do so, museums have to get to know their audiences better, the contexts and the social frictions around them. Anna’s talk revolves around issues of active listening, participatory practices in museum education and a few examples from the Italian field, sharing her experience as a facilitator and a practitioner.

Anna Chiara Cimoli 

Art historian based in Milan. After graduating in art history, she earned a diploma in Museology at the École du Louvre in Paris and a PhD in History of Architecture from the Polytechnic of Turin. She teaches a course in Social History of Art at the State University in Milan, as well as a workshop in Museum mediation. She has been an associate of ABCittà since 2001. In this context, she designs experimental projects aimed at audience development, social inclusion and a more layered representation of cultural diversity. Anna is co-director of the online magazine roots§routes – Research on visual culture and co-editor of the Museums and Migration blog.

Accessibility is an interdisciplinary concept that gives museums the opportunity to be inclusive and, consequently, more relevant. The potential offered by this area is much wider than the expected results, which are usually aimed only at people with disabilities. Accessibility, in fact, fosters lifelong learning for anyone, promotes internal skills development, strengthens radical thinking, and supports the deconstruction of stereotypes. From traditional to postmodern museums, accessibility should always be considered a priority for any institution that wants to enter into dialogue with people. But how to start? What are the processes and steps to take? How to face the challenges?

Maria Chiara CIACCHERI
Independent museum consultant, expert on accessibility and interpretation practices 

This is a presentation from MuseumDigit 2019.

Inclusion is a big challenge for the museum world: it’s about embracing the diversity that requires cultural institutions to bridge their top-down leadership decisions —which mostly works upon macro-level values with their bottom-up engagement strategies and actions —caring for the micro-level sensibility to people. This talk aims to discuss the value of both the emphatic and systemic competencies of design in such a difficult context to foster, first of all, a better understanding of “inclusivity” in museums’ overall experience offer, and secondly, to discuss how, design helps to put people in the center from the very beginning of any process and decision.

Ece ÖZDIL
designer, founder of Jüniör 

This is a presentation from MuseumDigit 2019.

We live in a world that is slowly but surely turning 100 % digital. From the deserts of Africa to the plains of Europe, technology has taken its rightful place in communication, entertainment and education. In this world, we should all be part of the development to make sure that needs are being met. Unfortunately, that is not part of the progress we are seeing. Girls gain and lose an interest in technology at a very early age, citing lack of role models and exposure as the reasons. For far too long, media and popular culture have portrayed tech as something for greasy, male geeks. At home, too, it’s the men who lead the digital revolution. The results are painfully clear. Women make up less than 25 % of all workers in ICT. Getting young women to consider an education in ICT has proven very difficult. Getting them to stay in the jobs afterwards even more so. There’s need for structural change, from our day-to-day lives through the educational system and in our governments. To do so we must understand what has gone wrong, what remains wrong, and how to change the system. The talk shows methods that everybody can learn and implement. Paradoxically, the main focus of this method is as follows: Stop teaching technology, and start being present.

Eva Fog

Founder and chairwoman of DigiPippi, an NGO striving to change the gender balance in IT and technology for girls aged 7 to 13. Through female role models from all sorts of tech backgrounds, DigiPippi kindles an interest with the girls by using their existing interests as an offset in workshops, school courses and events. With a diverse background a self-taught techy and an education as a Waldorf pedagogue, Eva works tirelessly as an educator, expert, consultant and keynote speaker on all things children, gender equality and technology. A part she was awarded Role Model of the Year 2018 for.

This is a presentation from MuseumDigit 2018.

As President of ICOM CECA, Ms O’Neill presents «The CECA Best Practice Tool» as a proposal for developing museum education internationally. Some aspects of this tool could help to implement digital mediation tools in both tangible and intangible collections and to adjust these tools to the needs of today’s museum audience. The talk discusses how and to what extent the four dimensions of relevance -institutional, scientific, social and economic- highlighted in the best practice toolkit and together with the educational outcomes may be taken into consideration in any project using digital technologies. Museum research, however modest, can give valuable indications about the actual use of devices by the visitors and its potential benefits.

Marie-Clarté O’Neill

Museologist, museum educator, President of ICOM CECA (Committee for Education and Cultural Action)

This is a presentation from MuseumDigit 2019.

PAVILON D
2020 the Catalyst

Museums are not small Disneylands, but they are not substitutes for schools either. They can develop a third way, based on enchanting experiences, the time of a visit. Poetically enthralled, visitors can engage more eagerly in active learning. Museums usually keep saying : « this is a very serious place » (silence, dim light, stern security people). But they can also build alternative frames, saying « you are entering a different world ». Yves suggests that we need poetic moments in our life. Museums can offer such moments. As we enter them, we are wrapped in a thin veil which protects us from the outside world, and imagination and intelligence go spiralling.

Yves Winkin

Trained at the University of Liège, Belgium, at the University of Pennsylvania , and at the Ecole des Hautes Etudes en Sciences Sociales, where he worked with Pierre Bourdieu. His main books offer mappings of intellectual landscapes around figures like Gregory Bateson and Erving Goffman. His latest book is about reinventing museums, based on his recent experience as director of the Musée des Arts et Métiers in Paris. He is presently emeritus professor from the University of Liège and from the Conservatoire national des Arts et Métiers. He lives between Liège and Paris.

With an originally intended opening date in late 2020, Science Gallery Melbourne was impacted by COVID-19 in more ways than one. Besides working around shifting timelines and operationalising new social distancing protocols, the crisis also sparked a reconsideration of how visitors engage with digital platforms within and beyond the gallery space. In this talk, Susie and Niels discuss how Science Gallery Melbourne embraced the crisis as an opportunity to innovate. They share the development process of some digital platforms at Science Gallery Melbourne in response to COVID-19 while ensuring they meaningfully connect with audiences, artists and staff.

Susie Anderson

Susie uses digital media to uncover stories. With five years of content experience at Sydney Opera House and Museum of Contemporary Art Australia, the realms of content are her bread and butter. An Aboriginal woman from Wergaia and Wemba Wemba peoples of Western Victoria, she uses both her professional and personal practice in nonfiction and poetry to examine and repair disconnections between people, place and culture. In her work as digital content producer at Science Gallery Melbourne she is excited to engage with young people, artistic, science and research communities to create content in that liminal space of ‘the in between’.

Dr Niels Wouters
 

Head of Research for Science Gallery Melbourne and Research Fellow at the Interaction Design Lab (Melbourne School of Engineering). He advises on the creative and functional requirements for the digital activation initiatives that Science Gallery Melbourne undertakes. Niels has a keen interest in democratic uses of bespoke technology to make architecture and public space more engaging. He holds degrees in architecture, computer science and human-computer interaction, along with a PhD in architectural engineering that examines the social qualities of digital media in public space.

Regardless of COVID-19, the museum sector has been facing challenges in the past decade adapting to rapidly changing online audiences and behaviors. During 2020 the pandemic discussions and efforts have intensified and might have helped speed up transformation. Kajsa shares thoughts and experiences from Västernorrlands museum and her previous work elsewhere in the museum sector, identifying challenges and taking steps forward to transform old and implementing new work practices.

Kajsa Hartig 

Kajsa Hartig is head of Museum experience and collections at Västernorrlands museum in Sweden. She has in the past 15 years dedicated time towards exploring value creation online in the museum sector, especially focusing on how a holistic approach to the museum experience can help museums overcome silos and better prepare for scaling efforts online. Between 2017 and 2020 she has been managing the international project Collecting Social Photo, researching how museums and archives can collect social digital photography in times of mobile cameras and social media. 

Our vast collection of art, objects, and cultural materials not only increases our understanding of the made and natural world. The stories from these collections are vital to engaging our audiences, from driving attendance to fostering relationships with donors. The more we as museums leverage the opportunity we have as editorial-based storytellers, the greater our relevance and reputations in our local and national communities. People connect and learn through stories. So too must museums engage in storytelling to ensure our financial future and fulfill our mission.

Brad Dunn

Brad’s approach blends 20 years of experience leading digital strategy and creative direction in design, technology, social media, games, content strategy, filmmaking, advertising, and theatre. His work is informed by user testing and data analysis, creative thinking and gut instinct. He’s led teams that have given voice to dinosaurs, led storytelling for the Field Museum, pioneered immersive, training environments for Marriott International, and conducted innovation workshops for the Civil Service College of Singapore. At every step, he has prioritized hiring and supporting great people.

During and after the pandemic, service design has become more important for museums than ever. Meeting the epidemiological requirements can significantly transform the visitor experience, which can be shaped with the help of service design. What kind of internal management system do institutions need? How can a visitor be safe without feeling confined in space? The service design methodology can provide comprehensive and satisfactory answers to all these questions, as we can rightly expect that the museum environment will provide valuable solutions that respect the visitor experience and sustain interest in an age of changing space use and social contact.

Mátyás Misetics

With 10 years of experience in the cultural, arts, creative and economic sectors and 5 years of university teaching, Mátyás works on branding as a consultant and design specialist. He holds degrees in visual communication, photography and design management and is currently a doctoral student. He is the co-founder and creative director of MITTE Communications, an integrated agency. In recent years, he has worked with his team on comprehensive projects such as the branding of the Robert Capa Contemporary Photography Center, the image design of the Transport Museum in Budapest or the image change of the Radnóti Theatre and the University of Óbuda.