 to make this event, so thank you all. And then a few individual thanks here. Jason Hendricks from the US Capital Visitors Center just kind of stepped in and is doing this unbelievable hacker genius, Jedi job, pulling together a guerrilla live stream, which will probably be of higher quality than anything we could have paid for. Yeah, maybe not. But so thank you for coming to me. It's just incredible. Oliver Bendor from DLF also just sort of, they put this together somehow. And that's super exciting. Because I think the live stream sort of raises the stakes here on new performance. Like, you know, the internet is watching tonight. We're also doing a professional recording that will be part of the archive of the event. We'll do closed captions for those and get them online in the coming weeks. Oh, Marilyn Sklar is our wonderful official event photographer who just came out of heaven to be with us. Thank you so much for doing this. It's just, Nate Hill told me in Chattanooga on the fourth floor project, having a flicker pool of people doing stuff in that space was like the best calling card for that project, just seeing the body language and seeing people gathering together to do things, told everyone more, in my mind, as much as anything we could have written about that project. So thank you so much. And if you've taken pictures, hashtag open lab workshop, just get them up. I would be really grateful to see those. Tracy Bergfold from Yeah You Curator of Tweets. Thank you for coming. Two long days in a hairy drive, I understand, through the mountains of Pennsylvania to get here. Thank you, thank you, thank you. We couldn't do this without a human primary where we just stood up and knocking this out of the park. Thank you, thank you, thank you. Curator of Tweets. It's so great to have people dedicated, great ears to what you're saying and also listening out to the interwebs to bring information back in. It's just a fantastic value. Krista Williford from Clear has been in the background throughout this project. And just the clear staff is such a revelation. Absolutely breathtaking and competent, bright, intelligent people. It's a delight working with them. I mean, just, you know, I feel reborn. Oliver, I mentioned before. Way to go. Thank you for everything. Bethany Muskie. Thank you. It's great to have your experience on this, especially thinking through the night talks and just all the way along, knowing we sort of had our back. And Chuck Henry, the president of Clear, he'll be here tomorrow for the meeting we're having on site. He was one of the first people who kind of listened to my pitch for this thing and said, yeah, Chuck's been thinking about sustainability and coherence in libraries and higher ed for years and years and years. So he was all over this. Nate has really immediately said, yeah, I welcome this, let's talk about this. I think he's been thinking about the same things for a really long time. This was back in the news at Chattanooga and now he's advancing the dates with 200 something libraries. A whole mess of libraries are part of this network up in New York. So it's great to have these eyes. And Anne Sneeseby Cook, our program officer at Clear at the National Environmental Humanities has been rock solid and really fun to work with. And who is Mark Ruppel, who sort of has been bummed in on us at our first meeting over at the NEH offices and like boom, boom, boom, do this, do this, do this. Like rock solid, fantastic perspective on the needs out in the humanities community. And last but not least, Amy Lucco from Clear is just one of the best collaborators I've ever had. Do anything you wanna do, Amy, come there with you. So, of course, last but not least, Brett. He probably took off. But Brett really stepped up and said we're gonna put the NEH behind this and we're gonna do this workshop. And who knows what else in a partnership, which made all the difference for us. So, thank you for letting me put that on the record. These things just don't happen by themselves. So thank you all. Which brings us to the main event, Open Lab Ignite. We've got 14 speakers. And if you haven't seen an Ignite talk before, it's 20 slides. Each slide advances automatically every 15 seconds. So each talk is five minutes long. We have a little pause in between. The speakers are gonna introduce themselves. Ignite talks are a fantastic way to get a lot of ideas on the table very quickly. And the talks tend to be really sharp. Something about having to work with time slides makes the brevity, makes people practice. We have a very eclectic and fascinating group of people coming up. And with no further ado, Ignite speaker number one, Kevin Novak. Kevin. First of all, I hit and start the timer. Kevin Novak, it's great to be back in front of the community that I love. And like, thanks for the opportunity. We have an opportunity and a mission. An opportunity and a mission to be a catalyst, a navigate here, and a curator. To recognize a need. To recognize a need for access, for discovery, and ultimately for providing the opportunity to inspire. The world continues to move physical content into the world of digital. But there is still so much more content that sits in repositories and archives that is yet to see the light of day. More content that needs to be brought forward in the light of relevance. Content that sits in physical buildings, physical archives, and digital wells. Content that needs to be brought forward out of the cold, defrosted, and made part of the story. It is all important and impactful content that offers opportunities to inspire, to create learning, and to promote knowledge. Our mission, intent, and purpose is to be the catalyst, the curator, and the navigator and to tell the story and ultimately inspire. We must seek to inspire a young child to become a lover of science, history, and the arts. Inspire a young child to gain knowledge from playing educational games with primary source materials. Inspire a teenager who is potentially so taken by the materials that guides their choice in life to be an author, a doctor, or a scientist. Inspire as an adult to gain context and knowledge from the content that made their idea never in the world. Results in any of these regards is elusive. How can you possibly quantify or qualify? Our access is denied. To me, it is always and simply just knowing that the inspiration was possible and that something was happening somewhere or everywhere in the world. There is still significant content to digitize and that which is available still has to be made accessible. Access in terms of availability and the story. The major challenges remain, discovery and context. Ensuring the content is accessible to the minds of those we want to reach. Accessible via multiple screens, more factors and interfaces and experiences. Also in terminology known and understood by the masses we seek to reach. Most content still reflects metadata of library subject headings, data and finding aids in the life. The aim of some tends to be archiving and preserving, not access. Of critical importance is the demonstration of content with contents. It isn't enough to simply make the content part of the archive. One needs to tell the story of the content and act as a curator who is helping to teach, inform and of course inspire. Even in digital, a catalyst, a navigator and a curator is needed to guide and ensure the significance and importance of the content and the story told. We hold the light bulb and the material in our hands. Can you turn on the light? We can get caught up in the technology, the sheer thrill of taming the technological beast. We get caught up in ontologies, architectures and structures that seem right and comfortable for only those in the know. We forget the familiar looking glass of our eyes are drawn to. We forget the 12 year old student searching for content who doesn't have a deep vocabulary, reflecting the terminology a researcher might use. We forget the grateful teacher who needs content that is easily understood by her pupil. We forget the lifelong learner who seeks to explore new subjects but doesn't think in long-term terms. In this regard, we still have much to learn and explore. Those in and surrounding the dynamic world of digital are still paving and exploring the way of the Wawa West. What seems mature really isn't. What seems cooked still is very raw. Raw and what is still unknown. Raw and what is soon to be possible. Raw and creating the connection and the context for those we seek to inspire. What seems best practice and norm is only the tip of a much larger iceberg. What seems comfortable dismisses what can't be seen under the water. We don't know what we don't know but we must stay focused on our mission, the mission to inspire. Despite the challenges of multiple screens and vast and changing constituent preferences, despite the challenges of size and scale, despite the challenges of multiple paths and directions, we must stay focused on the mission to inspire. Our purpose must always be to create the opportunity. We must all recognize that we remain stewards and we have to create inspiration through content and via the medium we know best. What we know is much more than most. What we know can impact the present and create the future. We see the possibilities and know when and how those possibilities can take form in reality. We are included in those we seek to inform and inspire. Our children, our family, and our friends are those who look to us to create the opportunity. We must stay focused on a higher mission and purpose. We must take the role of catalyst, a curator, a navigator. We must tell the story and take the opportunity to inspire. It is our mission and it's our imperative. Thank you. Cultural heritage institution. I'm part of SAA's student chapter on our campus since it's their mission. It's basically two fold. We serve ourselves, the future archivists, and we serve the community. My problem with being a member of SAA is that we really are good at serving ourselves and we're terrible at serving the community. That's what we're doing now. We're going to do what we call personal archiving today. Yay. And the first idea was actually to do personal digital archiving, but then we realized our audience probably thought what we had said was just personal archiving. They invited members of things that they have at home. These are from my archive at Colors, so you don't have to sound bad at all. So we invited people to read books and film and stuff like that. We coordinated them with Archives Month, which is an outreach event. It's huge in Wisconsin. The Wisconsin Historical Society tour advantage, but we also did other things like we emailed politicians. We did not email self-water. Free email. We had a spot on the news for two minutes. And then all that advertising got is these partners. We had experts who moved on to the Historical Society, filmed the theater research, the university work, and high school. So we had a good mix of people who were there to talk. But students is that we spend a lot of our time trying to get volunteers. And they all said, we're not experts, we can't do this. This is something that students did. They put these together to give out at the event. This is all compiled by first year archive students. Just the basics of taking care of stuff that you want. And everybody loved these. People took stuff for their friends. And they all thought that we bought them or had them provisioned by somebody. But the archive, the first year students did it. And it was really great because they were terrified of it. Which somewhere between being successful and being not as successful as I wanted, Madison is small. And I'll talk about a little bit of why 16th grade. But change to get more people. Wisconsin is a big black ball town. And I think my next slide is actually, so we had Star Wars Day of Library on the same day. The first thing I would change is to make sure I look at the schedule. We planned it in a month. We didn't know that Star Wars Day was the same day. But it turns out more people would rather read with stormtroopers than go learn about film. Which was fine. The other thing is that Wisconsin's a huge football state. We planned it on an off day for the Badgers. And it didn't matter. People still went to the bars to watch. So watch the Badgers. So maybe something in the spring would be better. Another note was that the audiences that we were trying to reach, especially genealogists, aren't always available in the fall of traveling to do research. And that maybe another month, like the winter month or spring month, would have worked out better for us than the football. Another thing we as students want to do is take it around the state. We wanted this to be people coming from everywhere, but Wisconsin is huge. And we couldn't reach everyone we wanted. And advocacy is not about your convenient area, but about the loved your people. But my main point I think is that this was all done by students. And they continually fought against me and said, I don't know anything. I can't help you do that. There's no way. But students know things. And I think using them to do more than just processing or more than just data entry here and actually getting them involved and stuff is great. They know stuff. They want to help. That's why they're in school. And when I think what I'm passionate about, I think about this piece of art. It is so powerful, right? I mean, if you want to achieve greatness, stop asking for permission. I think about this a lot. But when I'm looking at this, I really want you to take a look at this whole space, right? It is a look of defiance. It's a look of determination. It's kind of like saying, go ahead and try and stop me. It's great. I get this look a lot. So I'm here to chat with you a little bit about the hacker mindset. The woman in the art, I think she really kind of has something going there. Hackers, they view barriers as challenges to overcome or to either smash through or to get around. And I think this is interesting. I think there's a lot that we can learn from hackers in terms of getting to our goals by getting around the barriers. I started a civic hacking organization in Nebraska. And for the most part, I'm really a hacker because there's nothing that gets me fired up, like challenging the established way of doing things. I am. And I just challenged this entire thing. And I'm happy, there we go. Thank you. It's awesome. Oh, cool. I can't take it anymore, captain. Five, six, five, six, five, six, five, six, five, six. Hey, so you're a hacker too, okay? In a night talk, right? This is a hack presentation. An unconference, again, it's a hack on your traditional long boring conference. Since we're just a bunch of hackers here, I want to share with you my favorite quote from my girl Clara. It irritates me to be told how things have always been done. I defy the tyranny of the precedents. I go for anything new that might improve the past. I know you're thinking like, oh my God, I've talked to you about innovation. I've heard that all day long. What does that even mean? What does innovation mean? I don't know. But I know it's important and we've got to constantly strive for it. My opinion is big organizations is tough. It's really tough to innovate. Rapid change is really hard because when you have more people, you've got to have more rules or it's just going to get chaotic, right? That doesn't mean though that you couldn't possibly form small groups and get some innovative rapid change going on. So it's a little bit easier when you're a small group of people which is right here. I consider this pretty kind of grassroots in a way. And, yeah. So rapid change, sorry. It's super uncomfortable. It makes me uncomfortable. It makes a lot of my colleagues uncomfortable. But here's the thing. We work in information organizations during the information age. So I mean, what did you think you were? Yeah. So I want to get really uncomfortable with you right now and say that I feel like there aren't enough people having uncomfortable conversations with libraries. I want to see a lot more of that. And I think it's going to push us forward. We've got some ropy cats. And we have some ropy cats in our profession. And these are the people who are like totally chill with the status quo, just like whatever. Maybe there's some issues, but we'll pass those down to those pet millennials and see what they have to do with it. So when I worked in a public library, I had this poster up in my little cubicle. And I actually had some coworkers complain to my managers about this, because it made them so uncomfortable. And that really stuck with me. Because it's hard sense. Like, that's so crazy. Libraries and innovation go hand in hand. I mean, libraries have always been about technology, always been about changing ways in the big thing. So, it's cool, right? Like if we have the hacker mindset, if we take a look at all those things that are in our way, and we try to either smash through them or go around them, it's fine. I say break it. And so I'm here to challenge you to defy the tyranny of the precedent. I'm here to ask you, take a look at those things in your job that are stopping you from greatness, and don't ask permission to smash those barriers. Remember, remember this woman, I want to see this look on your face. And also remember that ignite means to set you on fire. So I'm hoping that you guys don't... I'm not going to tell you about my face, which is a community tech space in Omaha, we just opened. There's nothing like this in the country. I am not going to tell you a lot about it, because I'm so confident you're going to go onto our website and check it out. But we're all about smashing barriers in terms of access to tech and education. Thank you. Thank you. The Cummings was a master of disruption. His poems were all about this. Both forms deconstructed, old words reframed a new one. Let's us disrupt and reassemble. Sit up and cross your legs if you're sitting in stand-up and cross your arms if you're standing. Take a deep breath and I invite you to close your eyes. Relax your tongue. Note the inside of your mouth. Press your feet into the ground. Now soft. Notice stillness. Listen for motion. As you take in the sound, notice you are in a body. This body is in a space. And the space has a texture, a temperature, and a tone. Museum professionals can learn from me. He writes, since feeling is first, who pays attention to the syntax of things? Kisses, he says, are a better fate than wisdom. How would we curate this closed-eye moment we just had, this kiss of the space on our senses? Traditionally, we curate wisdom. Museums are intellectual, textual, visual, object-based. But bodies are complex. We learn on levels that are kinesthetic, multi-sensory, and not always processed in the language parts of the brain. Neurobiologists talk about more than just the five senses. There's interoception, proprioception, chronoception. But what matters is this. We need to bring forth our body's complex way of learning and connect it to the intellectual, the textual, the visual. How do we do it? One way is to ask seemingly absurd questions. In this room or a bird, what kind would it be? What is the shape of the sound of my voice? Is this unconference more of a stone in the sun? Or a freshly cut apple? What is the smell of this slog? There is no right to answer. These kind of questions, though, disrupt the dominant, deep ruts that have us doing the same thing over and over. They give us a new lexicon for understanding. But the most important part isn't the question. It's bringing ourselves as professionals right into the heart of the disruption. It's holding the moment softly, patiently waiting for something to arise, because it always does. After I've asked, what's the shape of, what is the smell of this painting? People do hear me. Oh, I don't know. I'm not creative. You're asking the wrong person. But I wait. I allow space. And then they say, coconuts. They read the label text. They look at the object closely. Together, we explore what it was about the coconut that kissed them. These seemingly small disruptions engage a sublingual, precognitive realm of the body that thinks and gestures, shapes, smells, and memories. These are valid ways of knowing. In fact, a world of future innovation dwells here. This is my point. Start with the senses, all of the senses. Recognize the complexity of your own body's wisdom. Then ask the questions that have no wrong answers. Do this in galleries, in your staff meetings, and do it at home. And be patient, because something will arise. And when it does, you'll see the same thing anew. A leaf falls, lonely leaves. So after that beautifully paced thing, I've, I think, packed 20 pounds of open-clam potatoes into a 10-pound bag. So we will see how this goes and what spills out at the end of the day. And so my name, a nonprofit organization called, hello. My name is Eli Bresson, and I work for a small nonprofit, Baltimore Marily, dedicated to historic preservation advocacy in heritage education. I'm here to introduce the local preservation school. Explain why I think open source matters to historic preservation, and invite you to get involved as a student, a teacher, or maybe both. So what is historic preservation? Preservation is inspired by the idea that important stories are found not only in museums and libraries, important stories are everywhere around us. They are in parks, they are in public art, they are in buildings and neighborhoods. And key is that good stories about places are really about people. History, and Eric Sandwise explained it neatly. The history of a city street means little if it's not tied to the story of the farmer who sold the land, the developer who bought it from them, the families who campaigned to have it paid, the men who laid the asphalt or the children who rode their bikes on it. So, over 50 years ago, a group of civic-minded activists and historians founded Baltimore Heritage. In 1960, we were fighting with mini-wrapped newsletters against highways and urban renewal, and now we're fighting for neighborhood revitalization with social media. But in most American cities, saving places starts with education. Planners or public agencies teach co-workers, volunteer dosing to historic sites teach neighbors, and nonprofit advocates like me teach everyone we can. We teach why buildings, old buildings are important, and what we can do to fix them up. And so, it can be tough sometimes to feel like you're making a difference. Have you ever wondered what you get when you cross a program director, a volunteer manager, and a janitor? The typical situation in most nonprofit organizations. One of the most important lessons that we've learned at Baltimore Heritage is that free digital tools are key to overcoming the limits of a small-stack budget. Open-source projects like WordPress and Omega empower us to connect with our neighbors. We have relied solely on costly proprietary tools so we could spend twice the money with half the money. The good news is that we're not alone. But the bad news is that many volunteer and professional preservationists still struggle to learn the new tools and approaches they need to achieve their own goals. So, the local preservation school is based on the idea that historic preservation succeeds when we can empower people to save the places that matter, to their block, to their neighborhood, to their city. The local preservation school is for people who want to save historic places to teach and learn together. There are many excellent online resources available on preservation, but they're often overwhelming, especially for volunteers who do this work on evenings and weekends. Our goal is to provide these volunteers with openly licensed, self-guided lessons designed to teach the knowledge and skills people need to save historic places. This is built on local knowledge because historic preservation is not just a job for experts and professionals. You may be one of the thousands of volunteers working to restore a park, revitalize a main street business district. The local preservation school is for you and your neighbors, a place to find your resources and a place to share your knowledge. So, we're committed to creating open educational resources that are accessible to beginners, not overwhelmed by jargon and requirements for expensive software. This incident is at Children's Library in Kensington that my kids go to, and this is my parents. Historic places should not be boring. Taking full advantage of the web means that we can make it easy for interested learners to share their progress, whether they're crafting the perfect caption for a throwback Thursday photo, or making an interactive map of vacant buildings on their street. So, why make this open? Open educational resources reduce barriers to access, ensure educators have the rights to retain, reuse, revise, remix, and redistribute educational resources without having to ask permission. So, with funding from the National Park Service and plans to adopt a variety of public domain resources as the basis for this project, it couldn't exist without this kind of public support. And we want to pay it forward by dedicating nearly all of our work on this project to the public domain under a Creative Conference Zero license. How can you join the Federal Local Preservation School? And so, we're inspired by the myriad of open source efforts that create an open invitation for people to get involved and share their time and talents to make something bigger and better than they could ever create a lesson. So, we opened the school at the beginning of October and we were working to launch our first course in January. The power to tell your own story is fundamental to saving historic places. And with Explore Baltimore Heritage 101, we plan to teach Baltimore residents, students, and scholars how to research and write about the historic places in their communities. But at this point, we still have a lot more questions than answers. We're collecting ideas for lessons and mapping out topics that we'd like to cover. If you're interested in learning about preservation, teaching about preservation, or you just love older towns and cities, we'd love to talk to you about the Local Preservation School. And you can even watch me work on this on Twitter. I'm inspired by a phrase from 1966 with heritage so rich that writes, the past is not the property of historians. It is a public possession. It belongs to anyone who is aware of it and it grows by being shared. And I'll end by asking you, submit a whole request on GitHub. Share a question, a link, or a comment on Twitter with the hashtag LocalPaths. Give me a call and say hello. We want to work with you and your neighbors to make the Local Preservation School into a resource for communities across the nation. Thank you. Woo! Let's talk and start doing something about this idea. It's about my hometown, Washington, D.C., where our graduation rate is 64%, which is a high for the city, but it's low compared to the counties that are in the around the city. It's something that I really feel as a lifelong resident of D.C. teens deserve better. You'll hear this frustration in the voice of D.C. students heading on to these high schools like 10th grader, Jerome Pettichlis, who confronted with an old school that means updated textbooks and science books and said this makes us feel unwanted or unwelcome. Jerome deserves better. You'll hear it in the voice of D.C. students heading already in high school, like senior Diamond Gooding, who said, we achievers are in a stone age learning environment. Diamond deserves better. And you'll hear the desire for a new kind of high school in D.C. students like Destiny T. Ray, who said, people think we're bad kids. I'm only 16. I didn't drop out. I just wanted to go to school in a different way. Destiny deserves better. And she's right that there is a different way and a different kind of high school in Washington is needed now. We're the home of problem solvers. The longs, the science, the research and public policy nerves who aspire to tackle the world's biggest challenges like disease, global warming, space exploration, the environment and so on. But we need a different kind of high school curriculum. Harvard's Tony Wagner has said, today, knowledge is available on every internet connected device. So what you know matters far less than what you can do with what you know. And that's the kind of school we need. He also said, the capacity to innovate, the ability to solve problems creatively or bring new possibilities to life and skills like critical thinking, communication and collaboration are far more important than solely academic knowledge. Fortunately, we don't need to spend billions of dollars creating the kind of public research and the cultural institutions to address the world's biggest challenges like tackling poverty, hunger, education, saving the environment and so on. Billions have already been invested here in Washington, DC, over many years to tackle these huge problems with breakthrough technologies and radical solutions. We are standing at the center of that X factor that our teens need to thrive in the 21st century. Billions have already been invested here in Washington, DC. And these public institutions, we have the highest concentration anywhere in the world. It's free, accessible. That's something we should think about. What are we doing with it? They're in fields of study that high school students need most like science, technology, engineering and math, NIH, NASA, Smithsonian research programs, Air and Space and Natural History Museums, the National Park Service, the US Geological Survey and also Arts and Culture, the Smithsonian Art and History Museums, the US Capitol where I work, the White House, the Library of Congress, the National Gallery of Art, the Kennedy Center, the National Archives where many of you all are representing here today. And all of these free public institutions have individual mandates to make their research, your research, your collections accessible and free and open to the public. However, local decent high school students are currently really only using them for one-off projects or the occasional field trip. That's not only a wasted opportunity, I think it's a waste of our public investment. All of these public institutions also have digital repositories, collections, research databases, social media and other forms to share their groundbreaking research and projects. And many have already created curriculum plans for students to learn from their work. So the building blocks for project-based learning already exist. We just need a new high school to put this research at the core of the curriculum at the center of an innovative new school for public high school students that can build on that project-based learning platform. It can't exist in a vacuum. We have dual enrollment partners scattered all over the city. We can help teams get the opportunities now to build a pathway for success, a pathway to get college credit. These institutions that you see are dying to improve their own graduation rates and completion rates. They would love to partner with a new kind of high school to help achieve their own mission. And new high schools need to include a new way of measuring, achieving and accomplishing their students. Thomas Friedman and others have talked about the importance of having digital portfolios. Let's give students something that will and merit badges that lets reinvent the way that high schools recognize achieving other students. Finally, we've got to, we've got to do something for Dora and these kids who are aspiring to be high schoolers when you see them. This is a way that we can leverage our resources and help them achieve their dreams. So what I'm calling is the working title of the Smithsonian High School and I'd love for any of your ideas to be back for how they did that. Thank you. A fake candidate at the Maryland Institute College of Art is bringing all that I am into one place through curatorial practice. My forte is traditional African band syndrome. Indigo is in itself magic. It's magical in itself magic. And it's intriguing to me. It's magical because the color is beautiful. It's magical because it does these things that just speak to you, it's called to you. It's magical because it has such a rich and dynamic history that goes in so many directions. You see it in the Tareg desert people where the men are the ones who wrap their faces, wrap their heads in huge turban and wrap their faces in indigo cloth, calling themselves the blue people because that protects them. It's believed that the indigo protects them as they cross the desert. It's magical. The Egyptian pharaoh had a sale on his ship and his ship alone that was blue telling people to park the waves. But it gets different. It gets different because Indigo was introduced to America by Eliza Picney. She needed a new crop and that cash crop was Indigo bringing slavery and changing the waterways and changing the commodity. Well, Indigo magic is an exhibition because I'm in an art school and that is my thesis study. It's an exploration of indigenous content and the way it shows up in African-American art forms. It uses Indigo as a lens to focus on the connections between African and American. As a color, as a dye, as a commodity, Indigo has had a vast impact on art and culture worldwide and it suggests and dignifies connections to so many different places in the Egypt. Oh, mummies and, you know, it's just magical, magical. It's got this mystique. It's been used as medicine. It's been used through history and shown up in so many ways. Even in Europe, the warriors, it was called the warriors herb because the warriors painted their faces believing that that blue hue would protect them in that. Indigo magic, it's crucial. Envision a collection of works, a collection that is blue, not necessarily a color, but a collection that is blue in spirit as well. The artists have been chosen because it's steeped in a regal, majestic blue. Their work is the visions of Indigo maybe as a trade commodity or strong African content. The artists include Ernest Croma. He is a living legacy. He is the oldest of these and he has much work that is inspired by his travel to Africa. Larry Poncho Brown, he is one of the most renowned artists but has much work that also inspired by his travel to Africa. This piece right there has people pointing and moving in the path of Indigo. Karen McAdoo Clark also inspired by her journey to Africa. Now an excellent potter but now hand builds and does things that are right there steeped in her journey to Africa. Karen Buster, these visions of her were hers before she ever visited the continent of Africa and once she got there, she found out that what had been coming through her was actually what she would see when she arrived. This photographer has Indigo all the way there. These are Indigo cakes processed in Africa. That is the site of a village where Indigo was died and then in a marketplace where Indigo is sold. San Juan Fadena's Theater with newly commissioned work titled Indigo Magic will be part of the experience because I believe that you need to bring people into museums not only by the art of the ball but also by interacting with people and having public programs. So this Baltimore Girls, it's runway upcycled denim so you take old stuff and you make it new again and make it funky fly. Tied on workshops so that young people can touch and be experienced and feel it not only through their breath, their heart, their mind, their body, their spirit and take a little something home as well. Gallery talks with some of Baltimore's own professionals. Chezia Strand does humanistic studies. Examples of Indigo tradition through her writing. Kocaba Salasi's work experience how African art shows up in Toni Morrison work and then the last was Mr. Bingham who has a vast collection of Indigo and African artifacts. So the place is the Frederick Douglassized Admires Museum because Indigo has been such a trained commodity. This museum sits on the pier that slaves were brought into. It sits on the pier where Douglass, Frederick Douglass and Eisenmeyer's both experienced both morning in a different kind of way, experienced in character in a different kind of way, just as Indigo has changed the lives of many of the first Mexicans. I got here on the half thank you slide at the beginning because these things get so often lost at the end and these ideas don't belong to me. They belong to a much larger community. So I just wanted to thank some of the people in movement who have contributed to the development of Indigo to stop today. Thank you. Museums seem to love this phrase and I really hate it. Pay your dues we say. Do an unpaid internship or five. Work six part-time jobs after grad school. Have to go to grad school. How many more barriers can be put up? I think a better pay phrase. How about you pay your interns? You serve the amount of good we can do for the future of the world and our field. If we open access to the field to classes of people who have not typically been granted access to it. Historically, unpaid internships disproportionately lock out people of color from entry into the museum world. This means we don't hire people of color full-time into museum work and our institutions wind up only telling a white narrative. Paying your interns can be the first step to ending legacies of oppression, tokenism and appropriation of your museum. To me, a lot of this comes down to a question of value. Museums publicly express their value in a number of ways. Through what they collect, what they display, what's their mission and values, who they hire and where they spend their money. Consider for a minute AAM's core documents from Museum accreditation. Admission statement, a strategic plan, a statement of institutional ethics, a disaster preparedness plan, the collections policy. All of these documents deal with how we treat our collections. None of them deal with how we treat our staff. Which makes the question, do you value your objects more than you value your people? We may say that we value diversity and of course we want to treat our workers well. But do our core documents and budgets reflect that fact? Does this question make you uncomfortable? We'll change it. And if you're sitting out there thinking, well, the law says it might be okay not to pay my interns and non-profits in the US. Remember that laws are only the floor of your house. But we're trying to build a home big enough for all of our workers. So do you really want to build a fabulous floor? We're trying to build a home big enough for everyone. Finally, to my fellow DC area staff, middle managers and CEOs, I encourage you to think about the way that we could use our power in the nation's capital to change this entire country. I'm putting out a call today for us city-wide to put together a policy of paying all our interns. Let's change the world. So, paying your interns is just one step. I've got nine other ways that you can go into it. Step one is admitting that you have a problem. At the museum computer network conference, Nikhil Trivedi challenged us to think about how our institutions have benefited from slavery, genocide, colonialism and more. Commit to taking some time tomorrow to talking to someone at your institution that you're founding on the basis of your collections. Number two, hiring more diverse staff is about more than just the words we use in our job descriptions and the spaces where we advertise our jobs. It begins well before that with the culture of our institutions and our welcoming or unwelcoming spaces. Reflect tonight on the culture of your museum and talk to someone about it tomorrow. Number three, take a minute tonight and read your institution's mission statement. Are you living up to those ideals when it comes to your workers at all levels? How can you be the change you want to see in the world and the way you hire and how you treat your workers? Number four, listen. Create a safe space for people at all levels from your volunteers and interns on up to talk to one another about their needs as workers. Listening means being open to changing. You need to be able to act on what you hear. Number five, if it's already too late by the time we hire, then only listening to our workers is insufficient. Go out to the people who aren't coming to your museum and find out why. Then, again, fulfill the contract of listening. Act on what you hear. Number six, one of the biggest problems in Job Stationwide today is job misclassification. The idea that people are doing the work of full-time employees with being called contractors so we don't have to pay them benefits or being called interns so we don't have to pay them at all. Before you create a contract job, think long and hard about why are you making it easier for yourselves or for your workers? Number seven, how many of you have advertised an entry-level job as requiring three to five years of experience? Let's commit this year to actually making entry-level jobs truly a point of entry into the museum field. Number eight, let's talk about grad school. Creation of graduate programs and the expense these programs require. Do you really need someone with a master's degree for your job? The universities won't give you those cash counts, but we can change our behaviors instead. Number nine, ask your doctor if a union is right for you. Sign effects, non-employment. Beals turnover, higher employee engagement and a more productive workplace. Take two sick days and call me in the morning. Number 10, pay your fucking interns. People of all backgrounds, live our values and how we turn our workers. If this resonates with your DC folks, come join us December 14th at the OptiGuy. Thank you so much. On this, two prerequisites. You have to know what a claim is. Everybody cool with that? Everybody familiar with MC Hammer's fabulous 90s masterpiece of pop perfection? You can't touch this. Yes? Okay. Let's go. The average human lifespan is roughly 80 years and during our time here on Earth, some of us will be lucky enough to grow old, fall in love and leave a better world than when we arrived. This is what time means for most humans. For GLAMs, our missions often stand independent of human time, rooted in cultural preservation, community and scholarship, designed to transcend life spans. This is what time means to most GLAMs. Technology marches at a different pace than humans and GLAMs and at a different scale. During the 15 seconds that this slide is shown, about 12,000 images will be uploaded to the web. This is what time means to the internet. And during this 15 seconds, 160 new internet users will log on for their first joy ride across the worldwide web. By the end of this talk, the internet will have grown by almost 2,500 users. This is also what time means to the internet. So the questions I pose today are honest ones. How can we transform our GLAMs to do more than just deal with digital shifts? Can we remake ourselves to exploit the speed and thrive in today's world? We're tomorrow's not-so-distant future world. We're back at this. I don't know where this slide came from. So I'm going to just advance and go, hell no! The swiftness with which GLAMs can operate is not mutually exclusive to the longevity of our missions. If longevity is the most important, we need to confront the things that threaten said longevity head on. So here are eight ways we can begin to attack glamour time. We must examine all facets of our internal operations and explore new perspectives. Digital technologies offer new tools, new approaches, and heightened levels of speed. Let's audit our operations and work toward responsive operational efficiencies. Number two, we must embrace the notion of iteration. Nothing is ever finished in the digital sphere. It either gets better or it gets deprecated. I assert that our organization should be versioned the same way source code is. GitHub, but for GLAMs, always getting better. Number three, we must make our GLAMs safe spaces for failure. I'm not talking about epic fails with huge financial costs and detrimental hits to brand or reputation. There's never room for that. Let's learn to fail fast, fail cheaply, and fail forward. Number four, we should implement policy that fosters radical collaboration. Internally, let's bring down departmental silos with efficient communication and design thinking. Externally, let's make it easier for GLAMs to work together on future-friendly sector-transforming projects. Number five, radical transparency. Let's build windows into our organizations instead of walls. GLAMs need to be sharing and learning from each other. And let's not be afraid to share our struggles and our failures so our collective knowledge base can grow. Oh, shit. Number six, we need to rethink conventional business models. The internet affords so much promise in the financial round, let's put it to work for us. Let's explore new revenue streams and be swiftly opportunistic with tactics. At the same time, number seven, we need to forge new funding models. Let's get real. Grant cycles and technology cycles are often out of alignment. And sometimes this can send an org off the rails. Let's work together with our grant-based funders to develop new tech-friendly paths forward. And finally, number eight, we should invest in the workforce and workflows of tomorrow. Let's make our GLAMs attractive places for the new guard. Then just maybe we can begin coaching talent from Facebook and Google instead of the other way around. Okay. Tackling this entire list at once will surely be a frustrating endeavor for those who might not. However, maybe the point of this whole workshop should be identifying and setting up the dominoes that need to fall. You know, we've all kind of been doing this long enough to know that implementing ideas like this in our complex organizations, tradition heavy orgs, it's easier said than done. But we owe it to our GLAMs. We owe it to our constituents. We owe it to ourselves to at least try. Because we, the people in this room are the makers for the catalysts and we're the ones that can pull it off. We are the agents of change. So let's commit to ending glamour time by building momentum and transforming the sector through partnership, cooperation, responsiveness, and ingenuity. Go back to your institutions with confidence and swagger and start small. Ship a prototype then blog about it. Post the drinking about museums. Form a change coalition within your organization. Together and only together are we able to stop glamour time. Often searching for ways to engage wider audiences and podcasts fit that bill. Their dynamic lend themselves to promotion through social media and provide a way to engage a digitally native audience. So let's start by defining podcasts. A podcast is an audio program made available in digital format for download over the internet. Generally podcasts are thematic and serialized with installments released regularly over time. There are tons of podcasts available through iTunes and other podcasting apps covering a huge range of topics from arts and entertainment to sports to gardening tips. Some museums are beginning to create podcasts but we can do more. The success of this forum tells us that the audience is out there and receptive. We just need to speak up. Over the last 10 years the percent of Americans who have listened to a podcast has more than doubled. An incredibly encouraging growth rate. But 70% of people have still never listened to a podcast. To hear that number and imagine the future popularity if the growth trend continues. Podcasts are consumed by a wide range of ages with 50% of the audience falling into the notoriously hard to reach millennial generation. Some of that is due to fabulous content but it can also be attributed to the comfort with technology forms. The majority of people listen to podcasts using a smartphone or other mobile device so that they can listen to podcasts while commuting, caring for children, doing chores or exercising. They can find out about what's happening at museums without disrupting their daily routine. Podcasts are suited to Glam organizations of all sizes because they have very low production costs when compared to other education and entertainment forms. They are so low cost and low tech to produce that they are often literally created in people's basements. Ease of listening and low production costs make podcasts an accessible option for museums to address the basic marketing concepts of engaging more people and reaching new audiences which I hear repeated by many different types of cultural institutions. My research uses public gardens and public horticulture as a case study to quantify the effectiveness of podcasts for reaching and engaging a millennial audience. Horticulture is defined as both the art and science of cultivating ornamental plants, fruits, vegetables and creating gardens. The variety of offerings that fall under this umbrella is extensive and includes everything from green roof research to patio garden design, community gardens and orchid display. Public horticulture takes these many disparate elements and brings them together giving them a human face. Horticulture provides this garden but public horticulture provides the space for these kids to play. Podcasts offer an opportunity to tell these stories, allow the public to feel connected. When creating an effective podcast, creativity is a key element for success. Episode quality and the serialized delayed release model work together to create a loyal audience and repeat listeners. There are tons of factors that go into determining the quality including production value, sound effects, focus themes, music and host narration but quality content is the most important element. So please tell your story. Every intellectual institution has amazing stories as part of their existing intellectual capital. Who and what drives your organization? Who exactly is that guy on the ladder and what exactly is he doing? As we developed the episode ideas for a public horticulture podcast, we learned that people are fascinated by the inner workings and want to know what is going on behind the scenes. Where do all the plants go when you dig them up from the conservatory? What does it like to be a part of that experience? And often, can I have the plants you're no longer using? People also want to be kept aware of what's going on. Podcasts, episodes on special events like this nighttime art installation provide an opportunity to boost event attendance and include new audiences. There is a special and hard to define element of podcast that contributes to that credibility factor because you're hearing the stories in your head, you feel especially connected to what you're learning about. This really helps develop the strong relationships that create long-term loyal supporters. My podcast is going to tell the story of people like Megan, who manages a college community garden, sells her produce to students and then uses the profits to help her campus botanical garden. I hope you will take advantage of podcasting to tell stories about your organization. The most important thing to take away from my presentation is that podcasts are accessible. You have great stories to tell and there's an audience waiting to listen. And I know that I, for one, am absolutely ready to subscribe. Thank you. I'm talking about not where our company will be. Visualization of data, how can we bring our collections alive for any audience and make it engaging? We really need to make it more interactive and effective in the way we interact with the data that we have. We need to make it accessible and standardize. So imagine you have a global map of your data. How does that look? How do we make it effective and link it back to the actual object or collection that we're working with? So imagine we're looking at the Gettysburg Address and as you look at that we can start to pull up the different types of scientific data that tell us about the content, the handwriting, the particles, the processing, what does the input like in the thumbprint, which might be links? How do we connect the scientific and the digital humanities together? The hyperlinks between that that help the curators think about their collections and while it's not connecting it's integrating. We're integrating that data together. We're making that social media component to bring the data alive. What are some of the challenges? It's transdisciplinary, not just multi. We're going across. We're not segregating our disciplines, but integrating them. We're linking the content back to the original object and we're trying to get away from the proprietary data components. Just an example of large data where we talk about spectral imaging. We can get one to two gig just for one capture of an image. What does that mean? What does that look like? And how do we actually access all those components together? So what we actually see with that is what I've actually called shooting in the dark. There's different information in every one of these web bands that we capture from the original object. And then we can take that further and take it a little bit to what do we see within each of those bands. You'll see things start to appear and disappear as we go through all the different bands here. And the way we process that data brings different parts of it alive. Also, we can take that a little bit further and say, well, how much data do we get from one single document? We can get up to 24 to 30 gigabytes. That's a lot of data, but with public domain, we want to make it accessible. We also want to show the different components of the hidden text that's within our collections that we didn't know was there. So taking it back to the challenges that we have, well, manufacturers don't really like making metadata available. We've got to push through and make them want to share it. We can do that. We're doing it. And researchers are restricted in how they can access it. If they don't have the same software, we have to push through that. For one token slide, don't be afraid. Underlying this visualization, we have to have a robust database to support that and make it available and easy to integrate data into that. So an example of bringing that alive, the Volta Mule of the Genocide World Map, the first map to refer to America. When we look at this with different types of imaging, we can look at the first reference to America there. And we can look at the central sheets that originally had categorographic lines that had faded over history. Well, those don't exist anymore, but with this special imaging, we can bring those back. We can show where they were. We can do a little bit more processing even so. And show where they start and finish. For a curator, that's really important back in 1507. As a scientist, I need the curator to tell me that's important. We have to integrate. We can then look at how do we process that differently to see what the original woodblock might have looked like. What tools do they have in 1507? We're pulling the curatorial and the scientific together and making it come alive. But wait a minute. 1507. That's a long time ago. What did the world look like in 1507 compared to now? When we spin on what they had in 1507, they knew a lot about the following of South America there. What journeys were people sharing? How will we link that together? So let's bring that together again. We're layering this data and changing the different types of scientific information. And we're linking it back to what the curators know and understand about these collections. Making it alive, linking it, layering it, taking it one step further. What's the geospatial component? What parts of our collections aren't linked yet that we know about? So here's the 1530 and following geography. When we looked at this and we went through some of the different papers that were used in it, we found the Karan watermark. It feels like that might be kind of interesting. But what's even more interesting about that and I'll post it slide to you. What I'm going to tell you here is that we could actually link the Tarani with the watermark from the Baltimore. Well, having a really long story short, we had done what those two documents together and everyone who worked on them. They started in 1506 in Sunday A. Their funder comes alive to print the Baltimore map. He dies. They regroup. They go to Strasbourg. They finally get back to printing the Tarani geography. You don't know that they could link those documents together. So what do we have? We need to integrate the visualization through the object. We need to create a shared language and we need to have a transdisciplinary linking, breaking down these numbers. Thank you. Thank you. Thank you. Thank you. You're welcome. Good to see you. All in. Good to be seen. So I'm breaking boundary in museum practice. I have a number of social media accounts. Please follow them all. You won't get disappointed. So I'm an ENFP from Myers-Briggs fans. Wow. Sharing that. High energy. Wow. This goes really fast. So I'm breaking boundaries and doing things differently all the time. Exhibits and events and education experiences. I've done a lot and I've started a lot because I've seen a lot of voids in the world. This is some of my real breaker crew. I organize what museum workers speak. Much love to them. Examining, labor, activity, thank you, the collective I founded, advancing people of color in arts, culture, and museums. And I usually try to find community in my rule-breaking. I've been rule-breaking since 1981. In college, I didn't declare a major till the last possible day. High school, I was kicked out for challenging the nuns on the religious panel. It's always something to come, but breaking rules gets my creativity flowing. I currently run a historic house, the Lewis-Ladimer House. I am a museum anarchist and that means that we're doing things differently. I let people touch stuff. I gave the keys to a band of artists to create this site-specific installation. We're doing all kinds of things differently and breaking rules. But my story really starts back when I was a pre-K teacher here in D.C. And I was teaching a group of students and we were having a good old time and teaching kids that age, it will definitely test your patience. But it taught me how to connect with people on an emotional level and how to make subjects engaging and fun to capture. Long story short, working with these kids is when the whole Trayvon Martin situation exploded and I had to be able to help them process what was happening. Kids have short attention spans as you can hear. You've got about 10 good seconds and after that it's a wrap. They're not listening. But I really wanted to work with them to talk about why Black Lives Matter and what they can do in their own way. So we made Wednesday cards with Trayvon Martin's mom and we talked about how it was a calling. It was really important for me to work with these kids because they were questioning and nobody wanted to tackle it but I couldn't look away and I wanted to walk in the truth and the power of that. Long story short, I got, I love doing that skip a slide. I believe that your silence makes you complete and that the world is watching and so we have to take a stand on these social issues especially issues like Black Lives Matter. This isn't showing up. I don't know why. But I was I got fired from the preschool. They didn't like what I was doing. They didn't like what I was teaching the kids. So I ran into Brownsat one day and I told him my story. He got 650 comments this was a few years ago and it really catalyzed this conversation. I decided after teaching that I wanted to get into museums and I really just started by learning going to conferences, volunteering, talking with all sorts of leaders and just grounding myself in the world because I wanted to start my own mobile social justice museum to tackle these issues so my vision for the Museum of Impact which is what I started not to wait for permission to be the change to fuel the future with arts and culture. My vision for the Museum of Impact is all about hearing, caring, acting and inspiring people to envision their role in championing change and we did a good deal of that. We launched back in September in Harlem and we also were just really interested in who represents whom for audiences that wanted to express to grieve, to grow, to cry and that was important for me to hold that space for folks because again I couldn't wait for institutions to tackle this topic. Also with the Museum of Impact we wanted to partner with local groups and find these lines of specificity around the issues so we partnered with storytelling groups other organizers, charitable organizations as we pursued these topics. Well, this was realized and the exhibit of hundreds rising in the journey of Black Lives Matter brought out 400 community members over the span of five days and I'm really proud of that. We held space for children to play and we were shining a light on these tragedies with an eye toward change, transforming the nation to celebrate Black Lives Matter and the well-sprung of artivism that arose out of these tragic incidents. I also was really passionate about breaking boundaries as we welcomed everyone. We wanted anyone who wanted to be there to be there and get that experience and we're still doing that work today popping up in community centers and schools and beyond. So breaking boundaries has helped deepen my museum practice and you can too. I'm happy to report that we will be popping up in the Brooklyn Museum and we have some of the museum blinded for 2016 so I would encourage everyone to break a few rules now then it's not going to hurt you. Thank you. I'm going to take a quick look at the cover of Smart History. So Smart History has a utopian vision one we believe everyone here shares. What if people around the world better appreciated the meaning and beauty of each other's visual heritage? What would it mean if every museum visitor was visually literate? How are we going to use the web to leverage our collective knowledge and expertise to reach new, enormous global audiences? Millions are coming in and it's very involved. So if you google the words art history and our work at Khan Academy comes up first. Two art historians have more YouTube subscribers than every art museum in the United States. Except for vision and paint. Here are some of our observations that we think limited museums reach and impact libraries as well as the rest of the planet. These come from our experience that are with these institutions. So the British Museum recognized that their content could reach a vast new global audience through Smart History Academy and the British Museum invited us to basically republish any content we wanted from their website. But this was very unusual. Nearly every page on Smart History links to the museum that the object is from. But those museums almost never link back to us. Linking helps learners. I think maybe never. It generates traffic to the museum's own website and to enter each other's and yet this rarely happens. A major museum we worked with recently commissioned a white paper about our very successful partnership yet the authors never reached out to us. Institutions fail and they think they have all the answers. Our style of conversational videos has had a significant impact on museum content. The museum's only been willing to work outside of their staffs. Are the museums talking to them? In several cases curators believing in our mission have volunteered to contribute but have been thwarted by the politics of their institutions. Curators and others who have more generous vision need to be persistent and overcoming bureaucratic obstacles. Despite the fact that we describe our shoestring method of making videos museums still often assume that they need to constantly video crew. Silicon Valley understands that it's imperative and it never lets perfection get in the way of creation. Recently we mentioned to a museum that they have a significant number of works in the new AP Art History curriculum. Completely new information. Museum needs to think about how their collection leases the needs of learners beyond K-12. Which took a year or more in many meetings for a major museum recently decided to change hands and that there was a clear benefit for all parties. The world shouldn't have to wait. We've noticed that museums have a wealth of already approved content that can easily be put online. When museums don't step up search results with commercial sites with unreliable information. And so many institutions still seek to control high-resolution images of public domain works of art and simply in abuse of their missions and the beneficial stacks that we have. The Wrights Museum recognized that the quality of the image of Vermeer's milk, yellow milk made resulted actually from the milk made, resulted in the proliferation of former productions and lower postcard sales. When museums don't step up others fill the vacuum. Can't afford to put high-resolution images of your public domain collections online? Why not ask the public to do it for you? So on history has 5,000 commonly taught images on Flickr. These images have been viewed more than 5 million times. These are just images we take in the galleries. Visit any museum YouTube channel and you'll find videos that have high production values and are obviously costly but have a very low view cap. We wonder is anyone keeping track of the return on investment for quantifiable goals ever sent? There's some really there's some really great online content for teachers that could be serving a much larger audience especially if certain words were taken out. Segmenting audiences online doesn't always make sense except when you're dealing with younger younger age groups. So millions of people around the world are coming online in the next decade as we all know hungry for the expertise that resides in your institutions. Why don't we work together to set ambitious goals to meet their needs? Google the words are history or nearly any commonly taught content and smart history comes very high to the top often above in museums, libraries, universities again we're only two people this shouldn't be happening. And this is an opinionated love letter to museums. Museums, museums I adore you we need to talk about your assumptions I walk in hallowed halls enthralled I searched your sites touched your screens all my heart we need to talk gentle muse young sometimes you assume nobody even cares about your collections you dally with fleeting exhibitions your curators while their time with someone else's money or a tut it's your collection that sets you apart you keep what we would run back to save in the fire flood or tell the stories that help us make personal connections to the collection sweet museum don't assume this try so hard to please films dining concerts insisting everyone comes to you partner with your friends go to their place once in a while what we need most from you is a great museum museum also Liam it's just morbid word playing it's true though you write for your collection may they rest in storage you once kept mention kept every mention in curatorial files not so much now but with internet and new emails but what if your collections are alive like never before in a digital space let's follow the trails of museum objects like biographies dancing through a digital meadow and let's record their movement as part of their ongoing story but you're too busy to fight the fancy first the website the online collection social media all on top of a busy calendar of course you're too busy first stop doing something old then try something new museums you're terrified of copyright you shall not be named copyright by them ARS fear uncertainty doubt museums don't even talk about it amongst themselves how much did we pay to put the Picasso on the right card how much did you and my slides aren't showing up whoo dude alright go just kidding where do you want to be back back too many emotions no it's true I can do it outside go museums you are terrified of copyright he who shall not be named copyright and I'm talking about all the word here copyright ARS fear uncertainty doubt museums don't even talk about it amongst themselves how much did we pay to put the Picasso on the right card how much did you if copyright is Baltimore then fair use is your patronus your share so little often wear your educational mission proudly what if museums had a platform to share what they paid in rights fees when they invoke their patronus fair use museums y-o-y collections management software such a spell how long will we wrestle data out of closed proprietary systems it's not black magic it's a relational database but it may require an exorcism museum technologists are under the spell too we assume registrars would never change how about an open system of the web all the web made for sharing and let's add value to the collection data collection color palette base recognition analytics all in reach for the smallest institutions museums the killing collection software isn't the only sacred cow every department has its own software system and most of them don't talk Conway's loss is that organizational silos get baked into software design what if we pull a reverse Conway and affect you software use a generic mission as a guide connect people to collections on the left people on the right collections in the middle that's where we post an archive all the ways the museum makes connections software structured for museum missions I got excited again but now but now this it makes sense you need to sell tickets but you're missing an opportunity social is immediate and ephemeral but its real value is long-term relationship connecting with the collection for profit marketers recognize that social is no good at selling to them it's about content marketing businesses are hiring teams or writers editors and experts in order to create content that generates goodwill museums have those teams already museums I still love you but you are so sick of me by now go ahead stick me in a separate digital department soon you'll need digital throughout though most staff already work with a computer you know doing computer things they need better tools and processes yes digitalism a fad you can't wait it out hoping things will go back to normal I'd only quibble with the timing digital is the now even if there is no technology in your galleries your audience has changed they are digital so what can a technologist do about museums I need to give a shout out to Brett Victor who wrote an essay along these lines about global warming technologists want to change the world for the better and I think they can do that by helping museums together we should provide a resource that answers these questions what are open problems in the field not just solutions problems who's working on which projects what are the fringe ideas let's share let's share in progress project information to jumpstart innovation and get more people involved let's get to work let's eat some food thank you everyone that was a phenomenal