Since 2014 is nearly over, we thought we'd bring some festive cheer with our 20 favourite museum-based jokes. Do you know a better one? Share it here via the comments or on twitter using the hashtag #museumjoke. We found a few of these via the fabulous #artjokes hashtag from 2013, so do check that out on twitter!
The Open Data Institute (ODI) has recently announced a new Open Data Challenge focused on Culture and Heritage. The challenge encourages designers, coders, companies and cultural heritage organisations to work together to come up with creative ideas in response to the challenge "How can we use open data to engage more people, and more diverse people, in UK heritage and culture".
Collections Trust CEO Nick Poole explores how wearables and the Internet of Things are bringing the museum without walls to reality.
Picture the scene. You're walking down the street when your watch buzzes subtly on your wrist, alerting you to an exhibition of your favourite artist that opens today in the gallery down the road. You've just parked your car and watched the automated parking registration ping on your dashboard when the GPS screen asks if you want to know more about the local history in the area you've just reached. You take your kids to see a local ruin and watch as they use the heads-up display on their glasses to explore a virtual reconstruction in time and space.
In a time of economic pressure and increased competition for funding, it is more important than ever that collections professionals are able to create compelling and successful grant proposals.
The Collections Trust has led grant proposals worth more than £15m since 2008, and our staff are regularly invited to work with funders as assessors and advisers to new grant programmes. In this Powerpoint presentation, Collections Trust CEO Nick Poole explores what it takes to create an effective grant proposal for a collections-based project, what to avoid and where to look for funding support.
Last Thursday saw the Collections Trust team head to Manchester for the latest in our series of 'Collections Trust Seminars' - one-day workshops for museum professionals and volunteers to learn more about our work and how it can help them do more with their collections.
The Culture Grid (www.culturegrid.org.uk) was established in 2006 to promote the discovery and use of digital information being produced through museum, archive and library digitisation. Since then it has grown into a platform providing access to almost 3m unique records illustrating the breadth and depth of cultural heritage from nearly 130 partners across the UK.
In terms of scale, the Culture Grid has been a great success. It has also been a success in terms of the less visible aspects of aggregating large quantities of cultural heritage metadata. It has helped promote the use of standards, enabled Collections Managers to make the case for improving the quality of their metadata and provided opportunities for developers, hackers and makers to remix cultural information into prototypes and demonstrators.
This article by Collections Trust CEO Nick Poole is based on a presentation on 'Resilient Things' given at the London Museums Group event on Thursday 18th September. The original slides can be viewed on this page or downloaded from http://www.slideshare.net/collectionstrust.
I first became aware of the use of the word 'resilient' in relation to museums about two years ago, when the Arts Council England started using it to describe the development of some of their strategic programmes. It occurred to me that while I had been broadly aware of resilience as a concept, I had never really considered what it actually meant, or more specifically what it should mean to museums.
Collections Trust CEO Nick Poole explores the problems associated with quantifying the value and impact of culture and the arts.
Everybody, it seems, is at it. In academic schools and policy organisations, think tanks and Government departments, an army of people are busying themselves trying to establish the Unified Field Theory reconciling public investment of the arts and culture with the production of tangible and intangible forms of value.
For some time now, ever since the comprehensive and inconclusive report Measuring the Value of Culture: A Report to the Department for Culture, Media and Sport (O'Brien, 2010), the UK's museum sector has been chasing the magic formula through which to express the social, economic and political impact and value of museums.
Marcello Mattos Araujo, State Secretary of Culture for Sao Paulo in Brazil has announced the adoption of the SPECTRUM standard by Brazilian museums at an event this week attended by Collections Trust CEO Nick Poole.
Nick Poole reflects on the launch of the new online collections website from Norfolk Museums Service, and the ways in which their long-term approach to documentation has enabled them to open up their collections for a new audience.
The Collections Trust is pleased to provide this standard guidance document on professional care, assessment, conservation and management of #MuseumCats. Using this guideline will ensure that cats in museums are managed in accordance with the requirements of the Museum Accreditation Scheme and, you know, common sense and stuff.
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.