Collections Trust CEO Nick Poole interviews Jamie Everitt, Collections Development Manager at Norfolk Museums Service and winner of the 2014 Collections Manager of the Year Award.
Collections Trust CEO Nick Poole visits the new Imperial War Museum and discovers a story of warfare and the impact of war fit for a new generation.
In this article Jenny Webb, winner of the Young Collections Professional of the Year 2014, gives us a brief insight into her career and offers some advice for aspiring collections professionals.
Collections Trust CEO Nick Poole considers the question of whether publicly-funded Digitisation should be regulated to ensure quality and long-term preservation of digital cultural heritage.
Last week, I had the opportunity to Chair a Working Group tasked with reviewing the excellent work of our good friends and colleagues at DEN - the Dutch agency responsible for advising professionals and policymakers on the Digital Agenda. On the group were a number of colleagues from different domains, each carefully selected for their knowledge and expertise.
On 3 July 2014, Harry Verwayen, Deputy Director at Europeana announced the publication of the Europeana Strategy 2020 which sets out a new vision for how we can all help transform the world with culture through the Europeana community. Below is a transcript of his announcement.
The European Commission funded Partage Plus project, managed by the Collections Trust, has now reached a successful conclusion after running for two years. The Partage Plus consortium comprised 25 different partner institutions, all of which shared the common aim to digitise Art Nouveau collections and make them accessible through Europeana.
Collections Trust CEO Nick Poole explores how museums might be able to publish simple information about themselves online so that other people can include them in applications and websites.
There's a wonderful moment with ideas, before the committees and the deep thinkers get hold of them, when they are simple and clear and easy-to-express. It is a beautiful moment of clarity about what could be achieved that usually comes just before things get considerably more complicated.
And so it is with a nice idea that has been doing the rounds of email lists and meetings about how museums could reach more people online by publishing a simple, structured set of information about themselves. So before things get complicated, I thought it would be useful to try and express the idea, simply and clearly in the idea of it. It's not my idea, so I invite anyone that has been involved in the discussion to correct my attempt at a definition.
The following is a joint statement issued by the Collections Trust and Axiell ALM, the UK archive, library and museum division of Axiell AB.
Axiell acquired Adlib Information Systems and Selago (producers of Mimsy) in 2013. These acquisitions build on existing relationships between the companies and represents an extension of Axiell’s ambition to develop globally competitive software solutions for museums, galleries, libraries and archives.
Over the next 2 months, you are likely to notice some big changes in the Collections Link website. We are currently implementing a comprehensive upgrade and redesign of the website, bringing together the Collections Trust's own corporate site and Collections Link into a single coherent platform. Our aim is to be able to improve the service and experience we offer, making it simpler than ever for you to access our standards, best practice guidance and editorial content through a simplified platform. We really value the time you spend using the site, so we wanted to let you know what is happening and why, and also to ask you to send us your ideas for future improvements.
Collections Trust CEO Nick Poole explores the gap between HE/FE research and the practical needs of the heritage profession and how to find ways of reconciling the two.
Research into the management, preservation and digitisation of cultural heritage is big business in the UK. Evidence suggests that as many as 40 HE/FE institutions in the UK are currently supporting academic research in the field, The new Vision and Strategy of the Arts & Humanities Research Council (AHRC) quotes a figure of more than £700m that has been made available for arts & humanities research since 2005 (not all of which is directed to heritage-related projects, obviously!), which has generated more than 16,400 'research outputs' over the same period.
Collections Trust CEO Nick Poole explores the emerging trend for museums giving their collections a voice via social media. We are proud to present our top 20 list of the best #museummascots and #socialobjects from museums around the world.
In her post for the Marketing Land blog, journalist Courtney Seiter writes:
"Creating a strong, consistent voice is the key to building a real relationship with your audience. Whether you’re B2C or B2B, people ultimately buy from people — more specifically, people we like and relate to.
Building on the two previous posts in the 'Going Digital' series, Digital People and Digital Strategies, we look at how museums are developing IT systems and networks to address the changing needs of the organisation and its audiences.
Now that your museum has identified its digital people and created your shiny new Digital Strategy, it is time to think about the IT systems - both software and hardware - that you need to have in place to support your colleagues. Unless you are very fortunate and are building a new IT infrastructure from scratch, it is likely that your digital development will involve the gradual development and improvement of a legacy setup. So how do you plan for the long term, while enabling your museum to be agile and creative with content and technology?
In this second post in the 'Going Digital' series, we look at the role of Digital Strategies and how digital can be embedded into forward planning as part of the overall development of the museum.
In our first 'Going Digital' post 'Going Digital Part 1: Digital People', we looked at the different skills, attitudes and personalities involved in using and developing technology in museums. People work best when they have a common sense of purpose or mission, a clear programme of work and a definition of success, value or impact that they can work towards. This is particularly true of 'digital' work, which touches on many different roles and skillsets across the museum.
This text is a transcript of the keynote address given by Collections Trust CEO Nick Poole at the UK Archival Discovery Forum (#UKAD) on the 27th March 2014 at the National Archives, Kew.
Collections Trust CEO Nick Poole explores the case for a Distributed National Collection in England, building on the established work in Wales and new developments in Scotland and Northern Ireland, alongside the potential to tap into a bigger public and political agenda relating to equality of opportunity and education.
This is a the first in a new series of blog posts about 'Going Digital' - the Collections Trust's programme to support museums in making the most of technology. In this first post we look at the question, 'Who does 'digital' in a museum?'.
At the heart of every organisation is its people. People bring skills, attitudes, knowledge and enthusiasm to their work, without which museums couldn't achieve any of the things they do. So it seems right to begin our exploration of 'Going Digital' in museums by thinking about the people involved - who, exactly, does 'digital' in a museum? What skills does the museum need to have access to in order to make the most of the opportunities of technology, while avoiding the risks?
Collections Trust CEO Nick Poole explores what the UK museums sector can learn from the successful campaign for High Speed Rail in the UK when advocating for new Government investment.
Everyone working in museums will be aware that the clock is ticking for us to put together a coherent political strategy in time for the Party Conferences in September and October 2014. Against a backdrop of spending cuts in Local Authorities, our sector desperately needs coherent, structured investment both to secure what we have and to keep doing the job we've committed to doing - which is to collect, protect, interpret and provide access to our shared heritage for the benefit of the public.
So what does a coherent strategy look like? What do we need to put in place by September this year to make it politically palatable, even attractive, to reinvest in the UK's museums? This was the question I posed in my last post on #museumfunding, "We don't need a debate, what we need is a plan", and I was prompted to return to it by today's 'No Boundaries' conference, organised by the Arts Council.
This article is a transcript of the keynote address given by Collections Trust CEO Nick Poole to the IMLS WebWise 2014 conference in Baltimore. The title is 'Make it personal - designing services that people will love', and the conference theme is 'Anchoring Communities'.
So I’d like to start today by taking you on a little trip. To a place called New Brighton. It’s a township outside Port Elizabeth in South Africa, with a population of around 40,000 people, an unemployment rate of 80% and around 30% of the population currently HIV positive. And right in the middle of this township the people, with the support of the South African Government, have created a museum, called the Red Location Museum.
The museum is located in the Red Location shack settlement, New Brighton's oldest neighbourhood, scene of one of the first public acts of defiance against apartheid when, in 1952, black railway workers refused to show their 'passes' to enter railway property.
Collections Trust CEO Nick Poole reflects on the #futureofculture event at the British Library and looks at the need to make the case for supporting the arts and culture by appealing to higher ideals!
Happy. Safe. Connected. Free. There I was, at the Executive Board meeting of the Europeana Foundation in the Hague, staring at these words looking back at me on a post-it note, wondering whether to scrumple it up or stick it to the wall.
The occasion was a special meeting to look at what impect we expect that Europeana will have had by 2020. Impact is a tricky thing to define - as soon as you try and pin it down, it slips away in a cloud of 'it depends' and 'impact for whom?' We were working in groups, facilitated by the excellent Business Models Inc, a suitably bright and energetic pair of thinkers who specialise in helping organisations understand and adapt their business model to a changing world.