Professional Documents
Culture Documents
Museums in The Digital Age A Dosdoce Survey
Museums in The Digital Age A Dosdoce Survey
1. INTRODUCTION
1.1 Before, during and after
1.2 ‘Blind’ in the digital age
4. STUDY PROCEDURE
5. AUTHORSHIP
This study has been published under a Creative Commons “Attribution-NonCommercial-NoDerivative license”; the work may be co-
pied and distributed by any other means provided that its authorship (Dosdoce.com) is credited, it is not used for commercial purposes
and is not amended in any way. The full license may be viewed at: http://creativecommons.org/
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MUSEUMS
IN THE DIGITAL AGE
INTRODUCTION
Although we may all more they deny spectators’ demands for facial recognition systems, smart sen-
1 or less agree that the Inter- interactive experiences, which are not sors, real satisfaction recommender
net has radically changed the always met in practice through the use systems, interactive applications for
way in which people look for and find of games. mobile devices, among other
all kinds of cultural and leisure con- novelties- offer cultural institutions an
tents, do we really believe that mu- The main purpose of this study is to amazing choice of opportunities
seums, cultural institutions and art analyze how museums, cultural institu- to enhance the visitor experience
galleries can offer the same experience tions and art galleries may benefit from at an exhibition, among other expe-
on visiting an exhibition or collection the latest technology on the Web and riences that may be offered by a
in the 21st century without embracing on the market, as well as that offered museum, cultural centre or art
any kind of change? by recently created technology compa- gallery.
nies, better known as startups, with a
Museums, cultural institutions and art view to improving their services within
galleries can’t afford to remain alo- gallery spaces, with virtual material and
of to this change, which is directly content, with a view to enriching the HOW CAN ART
affecting the consumption of cul- visitor experience. INSTITUTIONS
tural products and is consequently BENEFIT MOST FROM
influencing our access to art and cultu- The impact of third generation techno- TECHNOLOGY WITHIN
re from any perspective. Neither can logy in the cultural sector -such as THEIR REACH?
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MUSEUMS
IN THE DIGITAL AGE
INTRODUCTION
BEFORE, DURING
AND AFTER
Contrary to previous stu- development of applications for smart applications, QR codes, gamification,
1.1 dies1 by Dosdoce.com, whe- devices); a diminished use of tools touch-screens, sensory technology,
re we analyzed whether or during the visit to the physical geolocation or augmented reality,
not a given cultural institution was installations of the corresponding among others, to develop new servi-
present on a social network and sub- institutions (mainly focused on the use ces for the purpose of enriching disco-
sequently provided a series of recom- of certain technologies for the purpo- very processes at museums as well as
mendations to improve its presence se of enriching the visit); and lastly, a promoting a connection among visi-
on those networks, this time we pre- low use of technologies to encou- tors.
ferred to analyze the degree to which rage the exchange of experiences
all kinds of technologies are used du- after the visit. Although museums have reached reco-
ring the three stages in which a citizen rd levels of visitors during the last few
may experience direct contact with a Cultural institutions and technology years (3 million annual visits to the
cultural institution: companies in the digital age need to Prado Museum; 1 million visits to the
work together more closely with a Bilbao Guggenheim Museum in 2012;
• Before the visit (discovery stage) view to benefiting from the opportuni- almost 400,000 visits to the Picasso
• During the visit (direct experien- ties offered by tools such as mobile Museum in Málaga, etc.), one of the
ce stage) most significant challenges these insti-
• After the visit (stage at which the tutions will have to face in the next
experience / satisfaction is shared) few years is the addition within
RECENT ATTENDANCE their gallery spaces of a broad
The results of this last study have re- RECORDS SHOULD NOT BE range of technology in order to
vealed a highly intensive use of USED AS AN EXCUSE TO enrich the visual experience
technology during the discovery POSTPONE THE USE OF for visitors and really meet
stage (mainly focused on promotional TECHNOLOGY TO ENHANCE the needs of 21st century
activities in social networks and the THE VISITOR EXPERIENCE clients.
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INTRODUCTION
‘BLIND’
IN THE DIGITAL AGE
Museums and cultural insti- mend visits in a highly personalized of their senses.
1.2 tutions are blind in this digital way since they will be familiar with
society because they are their clients’ real preferences as well One of the main conclusions of this
unaware of most of their visitors’ pro- as their degree of satisfaction. This study is that museums, cultural
files and cultural preferences. They information regarding visitors’ be- institutions and art galleries are
don’t know whether their visitors are haviour and their true level of satisfac- destined to get along with recen-
dealers, Fine Art students, tourists or tion, which are impossible to secure in tly created technology companies
town residents visiting a museum for the analog world, will become the ac- in order to benefit from the opportu-
the first time. This is due to the super- tive ingredient and competitive nities offered by the Internet. 90% of
ficiality of statistics controlling the advantage for museums in the new the companies participating in the sur-
number of visitors at museum entran- digital age. vey revealed that they were truly inte-
ces and to the failure to analyze speci- rested in new technologies and consi-
fic studies that institutions of these VIEWING AND dered it highly advisable to implement
characteristics should conduct. DISCOVERING AN them in their institutions to enrich the
EXHIBITION SHOULD NOT visiting experience before, during and
How can a museum recommend an after visits. However, the study also
exhibition or the contemplation of a
BE A SOLITARY ANALOG
revealed that only 30% of the institu-
particular painting to potential visitors
PROCESS; IT SHOULD tions participating in the survey
if it is unaware of their cultural tastes? BE SHARED WITH claimed to have held one or two mee-
The real additional value provi- TECHNOLOGY tings with technology companies in the
ded by the Internet is the direct previous year. If museums, cultural
knowledge of its visitors and their The way an exhibition is discovered institutions and art galleries fail to ac-
behaviour during the process of and viewed in the digital age will no cept the challenge of thoroughly
discovery or consumption of any longer be a solitary analog activity and modernizing the discovery and
cultural content. New cultural content will turn into a process shared with visiting processes of their collec-
recommendation systems based on technology. Visitors in the 21st centu- tions and exhibitions, they will scar-
real satisfaction during previous visits ry need to be offered an online expe- cely remain as relevant cultural op-
will allow cultural managers to recom- rience in order to stimulate every one tions for citizens of the 21st century.
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MUSEUMS
IN THE DIGITAL AGE
APPLICATIONS FOR
DISCOVERING EXHIBITIONS,
CULTURAL ACTIVITIES, ETC.
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MUSEUMS
IN THE DIGITAL AGE
EXPERIENCES
RELATED
TO GAMIFICATION
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IN THE DIGITAL AGE
ELECTRONIC RESOURCES
ON WEBSITES
OF CULTURAL INSTITUTIONS
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IN THE DIGITAL AGE
GUIDED
TOURS
ON TWITTER
The Tate Gallery in Lon- hosted by a museum guide who discus-
2.1.4 don has, once again, de- sed and provided some of the keys to
monstrated its ability for the artist’s work. There was also a
innovation through the use of social question and answer session with one
networks to broadcast its exhibitions of the curators in charge of the virtual
and activities. It recently gave a guided tour. Photographs of the artworks
tweet and image based tour on Twit- being discussed accompanied the
ter of the pop artist Roy Lichtenstein’s tweets.
exhibition on display at the Gallery.
In this case, interaction and museum
We have seen other initiatives before activity were extremely well combined
with a view to promoting certain to provide a virtual service to
exhibitions or encouraging visits to potential visitors and consequently
museums via Twitter, with the attract visitors to the museum. It is
consequent hashtag (#). However, this also a great opportunity for anyone
was the first time a guided tour was wishing to receive real-time,
actually given on Twitter. significant information on a given The Tate Gallery recently hosted
the first guided tweet and image
exhibition, wherever in the world they based tour on Twitter
The tour lasted half an hour and was may be.
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IN THE DIGITAL AGE
NEED TO REDESIGN
WEBSITES OF CULTURAL
INSTITUTIONS
The arrival of smart to whether to visit a certain exhibi- Unfortunately, there are many cultural
2.1.5 phones is causing more tion. It is even influencing how we institutions that have still not adapted
changes in habits and on enjoy the experience of consuming their websites to be easily read on
the Internet than we are capable of these cultural contents. these new devices. It is of the utmost
understanding. This new mobile sup- importance to redesign the websites
port, in combination with tablets of of cultural institutions for their
various sizes, is prompting a radical ADAPTING WEBSITES adaptation to all kinds of mobile
change in the way in which we disco- TO BE EASILY READ ON devices if there is an intention to
ver all kinds of cultural contents MOBILE DEVICES IS project a good image and
(books, music, art, etc.) and is also ESSENTIAL FOR IMAGE provide a better service to
having an impact on our decisions as AND SERVICE visitors.
ENRICHING THE
NAVIGATING EXPERIENCE
Apart from redesigning web- tion published by users, which would tion of key words will offer us con-
2.1.6 sites for their adaptation to assist in saving information as nections, for example, to pieces
all kinds of mobile devices, well as enriching it. New websites in a collection, exhibition or rela-
cultural institutions should focus to- along those lines will allow users to ted activity. The example of
wards a more semantic approach share, process and transfer informa- Cultural Surface, which we will
on their websites to enhance the tion in a simple fashion, consequently describe in the next section, will
navigating experience. At this par- obtaining better results in the search help the readers of this study
ticular stage in the evolution of websi- for information on the Web. Enriching to understand the evolution
tes, all their contents should be inter- the navigating experience for its users in the design of cultural
connected via supplementary informa- will be crucial to museums: a combina- websites.
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GOOD PRACTICE
EXAMPLES DURING
THE VISIT
The use of audio guides in allow visitors to watch video inter- JUST AS AUDIO GUIDES
2.2 gallery spaces was initially a views with their favourite creators, ARE NOW USED DESPITE
source of criticism for va- search for artworks, delve into details, INITIAL CRITICISM, WE
rious cultural managers. However, view related images or texts, scan QR WILL SOON SEE THIRD
practically every museum currently codes on a screen to obtain more GENERATION TECHNOLOGY
offers them and approves of the servi- information on a given work or pur- IN GALLERY AREAS
ces they provide for visitors. Similarly, chase the digital version of the exhibi-
we will soon witness the arrival of all tion catalogue, etc.
kinds of third generation technologies most apps developed by cultural insti-
in gallery spaces owned by museums, As we indicated in the introduction of tutions are focused on individual use,
cultural institutions and art galleries as the study, we detected a minor use of whereas we usually visit a museum or
a way of enhancing the visitor’s visual technologies during the visiting stage cultural institution in the company of
experience and really meet the needs to the physical installations of mu- others. Since we live in an era of co-
of 21st century clients. seums, cultural institutions and art llective participation, cultural institu-
galleries. Most of the tools used by the tions should develop applications
Enriching a visit means interac- institutions participating in our study that may allow a collective
ting or getting deeply involved in revolve around the development of use, with a view to assimilating
what we are discovering. Using applications for smart devices. analog experiences along with
these technologies in museums will We were surprised by the fact that virtual ones.
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IN THE DIGITAL AGE
SEMANTIC
TOUCH-SCREEN DEVICES
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IN THE DIGITAL AGE
USING QR CODES
IN EXHIBITION HALLS
48.2% of the institutions We will gradually grow accustomed to
2.2.2 surveyed indicated that they these small square shapes everywhere:
used QR codes to enhance in newspapers, on restaurant menus,
the visitor experience. household goods, etc. Soon these
grids incorporating black and white
Since their invention in 1994 by a shapes will revolutionize the way in
company belonging to the Japanese which we visit an exhibition.
Toyota group, QR codes have speeded
up management processes in sectors An example of such use may be found
such as the automobile and mass con- at the exhibition Los espejos del alma
sumption sectors. Their recent appea- (The mirrors of the soul) at the Mu-
48% rance in the cultural sector will cause a seum of Romanticism in Madrid.
real revolution as to the way in which The exhibition includes QR codes that
cultural contents are discovered as allow visitors to access a playlist on
48% of the participants indicated well as having a huge impact on them Spotify of German pieces of music
that they use QR codes to enhance
visitor experience since it will enrich the visitor expe- from the relevant period as a tool to
rience at museums, cultural institu- enhance the visitor experience beyond
tions or art galleries. the artworks on display.
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IN THE DIGITAL AGE
EXPERIENCE
IRI - Institut de Recherche et
d'Innovation du Centre
Pompidou (The Pompidou Centre’s
Institute for Research and Innovation),
indexes audiovisual contents being
streamed live, registers their scope on
Twitter and transforms them into a
series of images appearing on the
video timeline.
USING APPLICATIONS
TO ENRICH THE VISITOR
EXPERIENCE
55.6% of the institutions Museum of Modern Art is the ideal
2.2.4 participating in this study tool for obtaining more information
expressed their extreme on the artwork being viewed at a given
interest in enhancing the visitor expe- time and it also allows visitors to take
rience through the use of mobile appli- a virtual tour of the museum, secure
cations18. comprehensive information on exhibi-
tions and listen to curators’ com-
Throughout the last few years, a large ments.
number of institutions have developed
apps enabling visitors to enrich their The Art Museum app goes a step
physical experience with the aid of 55% further and assumes that we are alrea-
technology. dy familiar with the exhibition but
want to intensify our knowledge on a
We will comment on various applica- given work or artist. In other words,
tions with different focuses so that 55% of the participants expressed
a keen interest in implementing the Art Museum seeks to be our private
they may serve as a reference to cultu- use of mobile apps during visits Art teacher, for example, by showing
ral managers who may be thinking of us the differences between Renoir and
incorporating all kinds of technologies Rembrandt. The app uses gamification
to their gallery spaces with a view to techniques to help us become acquain-
enhancing their visitors’ experiences. ted with art history.
The app used by the New York Likewise, Art Authority offers
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IN THE DIGITAL AGE
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MUSEUMS
IN THE DIGITAL AGE
SENSORY
TECHNOLOGIES
Museums will soon incorpo- relation to all kinds of activities (city different forms, which is subsequently
2.2.5 rate all kinds of third genera- walks, car trips, going to bars, etc.). displayed on a smartphone. This
tion technologies in their We will soon see their application to system combines a mobile eye tracker
gallery spaces such as facial recogni- all kinds of cultural activities (plays, (SMI Eye tracking Glasses) with an
tion, smart sensors, real satisfaction concerts, visits to book stores, exhibi- object recognition engine. An algo-
recommender systems, among other tions, etc.). We recommend that the rithm for distinguishing attentive gaze
novelties, offering them a huge range readers of this study pay close atten- from non-attentive gaze has been im-
of opportunities to enhance visitor tion to the preliminary conclusions of plemented to detect the viewer's in-
experience at exhibitions. the Museum Guide 2.023 due to the terest in a given object. Due to recent
large number of clues offered on the advances in sensory technology, future
Various cultural institutions are inves- benefits of using technologies of this eye trackers will be much smaller and
tigating the advantages of the use of kind in cultural institutions. easier to manage.
sensorial technologies to provide
a unique experience at a Museum Guide 2.0 is a sophistica-
museum. Although some cultural ted, automatic guide system for a
managers might consider them science visitor to a museum. It analyzes the FACIAL RECOGNITION,
-fiction contraptions, we can assure visitor’s eye movements and recogni- SMART SENSORS, REAL
you that they will be very commonly zes the objects to which most atten- SATISFACTION
used much sooner than expected. Re- tion is paid. When visitors view a spe- RECOMMENDATION SYS-
cently, everyone has been talking cific object for a certain length of time, TEMS … SCIENCE FICTION?
about potential applications and this sensory technology supplies infor- NO, THIS IS WHAT
projects such as Google Glass in mation about the object in several FUTURE HOLDS FOR US
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IN THE DIGITAL AGE
GEOLOCATION
TECHNOLOGY
Although 29.4% of the insti- the use of smartphones equipped with
2.2.6 tutions participating in the GPS technology that offer the possibi-
study alleged that they used lity of exploring open spaces with
geolocation technologies, we have sound, using stories specifically created
experienced difficulties in finding rele- by and in the Igartubeiti Estate Mu-
vant examples to share in this study. seum.
Areago, un paseo sonoro por We believe that the reason for the
Igartubeiti24, (Areago, an audio stroll limited use of technologies of this kind
through Igartubeiti), is an innovative is that cultural institutions are unaware 29%
heritage project which integrates the of their advantages. In order to un-
use of new technologies related to derstand their potential, these institu-
geolocation and heritage resources tions needs to reflect on how techno- 29% of the institutions alleged
from the Caserío Museo Igartubei- logy can help to provide a better servi- that they used geolocation
ti (Igartubeiti Estate Museum). This ce to clients and enhance users’ expe- technology
project proposes an audio guide via riences.
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GOOD PRACTICE
EXAMPLES
AFTER THE VISIT
As we mentioned in our of good practice, in most cases we will • A high percentage of visitors to
2.3 introduction to this study, simply mention the idea itself so that it cultural institutions and museums
we detected little to no use may serve as a topic for reflection by are foreign and it would therefore
by cultural institutions of technologies cultural institutions: be highly recommendable that the
that may encourage users to exchange galleries use different languages to
their visitor experience once it has • Offering free Wi-Fi throughout communicate on social networks
concluded. Users undoubtedly publish their entire installations so that apart from the official language of
all kinds of comments, photos and visitors may share their experien- the country of residence.
videos on social networks such as ces, sensations, opinions etc. This
Facebook and Twitter as a way of may be considered another crucial • Some museums publish information
sharing their experiences after a service at the “during” stage since it on the same profile of a social
visit to an exhibition but do so without is required for most of the apps network in various languages.
any kind of encouragement by the mentioned in this study: geoloca- This is not recommendable as it
galleries. There is no proactive policy tion, QR codes, etc.). confuses followers. It is best to
towards encouraging visitors to share open separate profiles, each in a
their experiences or rewarding them • We have not detected any signs different language. This is common
for doing so. in gallery spaces at most of the mu- practice in other sectors such as
seums mentioned in this study invi- sports, entertainment, etc. A report
This indicates a lack of feedback be- ting visitors to leave their rooms to drawn up by Dosdoce.com on the
tween digital strategies and the more share their experience on social presence of 2.0 technology in the
“traditional” communication activities networks. football27 sector revealed that many
in the good sense of the word. Most of the big clubs and the most popu-
cultural institutions are already well • In this regard, we would like to en- lar players (Ronaldo, Messi, Forlán,
represented on social networks. courage all cultural institutions to Iniesta) managed various profiles on
However, day-to-day and virtual incorporate their logos and social networks, each in a different
museum activities are not fully URLs relating to their presence language (Spanish, Catalan, English,
interconnected. on social networks such as Face- Arabic, etc).
book, Pinterest or Twitter on all
We will now go on to discuss some their information materials • We recommend offering
initiatives and ideas to be put into (catalogues, brochures, cafeteria, visitors a choice of reading
practice to encourage a greater store, etc.) and at exhibition entran- material associated with their
interaction among users after a visit ces and exits. Some cultural mana- exhibitions or recommendations
to a museum, cultural institution or art gers will consider it a horrifying to visit exhibitions in other
gallery, with a view to providing feed- suggestion to include these logos in art galleries in the same city
back to digital actions via analog activi- their physical spaces, but then, why related to the one they
ties. Since there are very few examples have virtual presence? have just visited.
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MUSEUMS
IN THE DIGITAL AGE
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MUSEUMS
IN THE DIGITAL AGE
POOR INTERACTION
BETWEEN MUSEUMS AND
TECHNOLOGY COMPANIES
Unfortunately, the results of believe that their extensive knowledge
3.1 this study revealed that most of the sector, coupled with certain
museums, cultural institu- internal resources, are more than
tions and art galleries have failed to enough to meet any digital challenge.
build any collaborative bridges
with 21st century tech compa- Museums, cultural institutions and art
nies. Although over 90% of the insti- galleries will soon incorporate all
tutions claimed to have a great inter- kinds of third generation techno-
est in incorporating more technology logies to their physical installa-
into cultural management, less than 35% tions. As we have seen throughout
35% of the institutions surveyed stated the study, third generation technolo-
that they had held from one to five gies allow users to touch the contents
meetings with a tech company throug- Less than 35% of the participants of a work. Touching in the digital
hout the previous year. This informa- stated that they had held from one to age means interacting or delving
five meetings with a tech company
tion implies that cultural managers throughout the previous year deeper into what we are discove-
are predisposed to incorporating ring. Incorporating these technologies
more technology in their galleries but in cultural institutions will allow visi-
the fact of the matter is that these tors to exchange opinions in real time
intentions have not yet fully ma- companies is not necessary since they with other visitors, obtain personali-
terialized. consider the content of a museum zed recommendations, see video inter-
more than sufficient to attract visitors’ views of their favourite creators, dive
The underlying causes and interpreta- attention. Other managers arrange into works of art to discover more
tions of these low results in the survey meetings with tech companies to get details, see other, related images or
are numerous. We have learned from information out of them or any other texts, scan QR codes to purchase the
our experience in this line of work details on their technologies and po- digital version of the exhibition catalo-
that many cultural managers believe tential benefits without really intending gue, share the experience with other
that a close collaboration with tech to work with them. The most arrogant visitors, etc.
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BEYOND SOCIAL
NETWORKS: DIFFERENT
MARKET PRIORITIES
English speaking cultural What were the main objectives
3.2 institutions have diffe- of meetings with tech companies?
rent priorities from Spa-
English speaking segment – More than one response may be marked
nish speaking ones. The different
comparative analyses we have
conducted among Spanish and
English speaking cultural institu-
tions, following the results of the
study, indicate that the process
of incorporating technologies
in the cultural sector is
happening at different 65,6% 65,6% 62,5%
speeds.
Enhancing visitor Attracting Improving communication
experience (QR codes, new strategies and online
While 65% of Spanish speaking touch screens) audiences positioning (web,
institutions have mainly met up social networks)
with companies specializing in web
design and social network positio-
ning, most English speaking cultu-
ral institutions have met up with
tech companies with a view to
enriching visitor experience
(65.6%) and attracting new audien- 56,3% 40,6% 34,4%
ces via digital initiatives (65.6%). In
other words, English speaking cul-
Improving Improving procedures for Personalizing the
tural institutions are already incor- accessibility the preservation of public’s attention
porating all kinds of technologies to the institution artworks, management in gallery spaces and
of the collection and its encouraging interaction
to enrich cultural experience, promotion and digitalization
beyond social networks.
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REDEFINITION OF DIGITAL
STRATEGY AND ORGANIZATION
During the process of deve- we found it surprising that most of the plan for the next two years32 on its
3.4 lopment of this study, we institutions surveyed could not claim website. Its vision may be summarized
realized how difficult it to have an employee responsible for in one resounding statement, Digital as
was to identify the person respon- digital strategy. These tasks are a dimension of everything, which may be
sible for digital strategy in most currently distributed among seve- interpreted as the incorporation of
cultural institutions. In some institu- ral departments such as press, new technologies in all the activi-
tions, the responsibility was focused marketing, web maintenance, ties of the institution and the de-
on one person but in most cases there press contacts, etc., without anyone velopment of online skills throug-
wasn’t even a Department or person specific to define, co-ordinate and hout the whole organization.
considered responsible for the global supervise the global strategy of the We recommend that the readers
definition of digital strategy. cultural institution across all the of this study read the document in
departments of the organization. detail since it will provide the keys
Although most cultural institutions as to how to redefine their digital
employ a person responsible for con- In an exercise of admirable transparen- strategy and its impact on the
tact with the media, the education cy, The London Tate Gallery has reorganization of cultural
department or institutional contacts, recently published its digital strategy institutions.
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IN THE DIGITAL AGE
WORKING TOWARDS
IMPROVED COLLABORATION
IN CULTURAL MANAGEMENT
24
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IN THE DIGITAL AGE
25
MUSEUMS
IN THE DIGITAL AGE
STUDY PROCEDURE
This study was entirely conducted between the months of
4 January and May 2013, following the steps briefly referred
to below:
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MUSEUMS
IN THE DIGITAL AGE
AUTHORSHIP
Museums in the digital age
May 2013
This study was conducted by Iñaki Saldaña and Javier Celaya of Dosdoce.com, in
collaboration with Clara Merín and Cristina González, of Endecomunicacion. We
would also like to thank the contributions made by Araceli Corbo, Gabriel Portell
and José Antonio Vázquez who have enriched the process of development of this
study. The study and questionnaires were translated into English by Annabelle Pratt-
McKiernan and the design and layout were handled by Ibai Cereijo of Woo Media.
The image on the cover belongs to the artist Fernando Martín Godoy.
All of the above reports have been drawn up for information purposes and are particularly focused towards communication officers who
may be unfamiliar with these new tools but have a real interest in learning the benefits of using them in their companies. As we indicated
previously, all these studies are published under a Creative Commons Attribution-NonCommercial-NoDerivative license; they may be cop-
ied and distributed by any other means provided that their authorship (Dosdoce.com) is credited, they are not used for commercial pur-
poses and are not amended in any way. The full license may be viewed at: http://creativecommons.org/
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IN THE DIGITAL AGE
(1) Section relating to Studies (13) Museum of Natural History (24) Geolocation technologies
conducted by Dosdoce.com http://www.amnh.org/plan-your-visit/ http://www.igartubeitibaserria.net/
http://www.dosdoce.com/archivo/ interactive-floorplan
estudios/ (25) Use of podcasts
(14) Cultural Surface of Telefónica http://rwm.macba.cat/es/sobre
(2) Applications for discovering contents http://espacio.fundaciontelefonica.com/
http://www.comunicacion- cultural-surface-una-nueva-forma-de- (26) Reina Sofía RRS
cultural.com/2013/02/14/museos-bajo- consultar-el-patrimonio-de-fundacion- http://radio.museoreinasofia.es/
tierra/ telefonica/ informacion
(3) Fundación Mapfre app (15) Multi-media orientation room (27) Study on the use of different
http://www.fundacionmapfre.org/ http://www.guggenheim-bilbao.es/ languages on social networks
fundacion/es_es/apps/default.jsp recursos/ http://www.dosdoce.com/articulo/
estudios/3653/futbol-2-0/
(4) Hermitage app with 3D images
http://www.hermitageapp.com/ (16) Multi-touch screens at the
Cleveland Museum of Art’s Gallery One (28) Offer of digital contents at the
e_press.html MOMA
http://www.clevelandart.org/gallery-one
http://www.moma.org/explore/mobile/
(5) Apps on Pinterest momabooks
http://pinterest.com/arbizun/museums- (17) QR Codes at the Museum of
apps/ Romanticism, Madrid
http://museoromanticismo.mcu.es/ (29) Online downloading of contents
actividades/exposicionesTemporales/ http://medialab-prado.es/archive
(6) Murder at the MET
http://www.metmuseum.org/metmedia/ actuales.html (30) Participation by users in the
video/news/murder-at-the-met programming of a cultural institution
(18) Apps for enhancing museum http://www.facebook.com/CA2MMadrid
(7) PradoMedia by Madrid Prado Mu- experiences
seum http://www.comunicacion-
http://www.museodelprado.es/ cultural.com/2013/04/25/7-apps-para- (31) Users’ contributions to exhibitions
pradomedia/ enriquecer-el-arte/ http://storify.com/cececebe/paral-lel
(8) Gamification at the Thyssen Museum (19) Cattelan app at New York (32) Digital strategy definition by Tate
http://www.educathyssen.org/juegos Guggenheim Museum Gallery
http://www.guggenheim.org/new-york/ http://www.tate.org.uk/research/
(9) Gamification at the Amberes Foun- press-room/releases/press-release- publications/tate-papers/tate-digital-
dation, Madrid archive/media-releases-2011/4313- strategy-2013-15-digital-dimension-
https://www.facebook.com/ mauriziocattelanapp everything
fundacioncarlosdeamberes/
app_454196767974669 (20) Tate Gallery apps (33) Reina Sofía Musuem Web Project
http://www.tate.org.uk/context- http://www.museoreinasofia.es/redes/
(10) Gamification at the Museum of the comment/apps/muybridgizer presentacion.html
City of New York
https://www.facebook.com/ (21) App with sign language (34) Collaboration agreements between
MuseumofCityofNY https://www.gov.uk/government/world- museums
location-news/british-embassy-budapest- http://youtu.be/Sle3uQEdeNA
(11) Gamification platform used by va- supports-launch-of-new-sign-language-
rious museums app (35) Examples of collaboration with tech
http://www.gosmithsonian.com/scvngr/ companies beyond the use of their
(22) DIY app, Andy Warhol Museum technology
(12) Bilbao Fine Arts Musuem http://www.warhol.org/connect/mobile/ http://www.comunicacion-
http://www.museobilbao.com/ cultural.com/2013/02/27/el-new-york-
v.virtual_bilbao/virtual_tour.php (23) Sensory technologies times-comparte-sus-instalaciones-con-
http://museum20.dfki.de/ startups/
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RESEARCH
CONDUCTED BY
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