relevant forever hse rwa

R e l e v a n t f o r e v e r R W A 2 0 1 4

Step by step to an understanding of iden%ty & fangagement, how they strengthen eachother; using social media 1.understanding what environment and business we/you are in 2.understanding the iden>ty and values of your organiza>on, how it works to aAract an audience based on shared interest

3.personifying this iden>ty, building rela>ons with individuals 4.geDng an understanding of the assets, the main ac>vi>es, rela>onships and distribu>on channels (“venues or mee>ng places”) of your organiza>on

5.find out who to follow, who wants to follow you and who to involve.

Which all together will lead to a more sustainable organisa>on, that is relevant for visitors, stakeholders, partners, society.

AMer this, the Digital Engagement Framework will lead you to further understanding, and to puDng things into prac>se.

What is it...


What does it...• introduc>on -‐ the Big Idea: why, how & what, who: the power source -‐ making heritage relevant: iden>ty & fangagement

• business model canvas turned around • Ready, SET, Go!

• your case within 12 + ques>ons, you'll have created the basis for your organisa>on’s sustainability


Relevant forever means... how to: • ar>culate a dream •make the dream come true • share this dream • keep your dream alive • together with your audience, stakeholders, partners


Relevant forever means: dare your dream

“If you're not prepared to be wrong, you'll never come up with anything original.”

Ken Robinson The Element: How Finding Your Passion Changes Everything


This comes from


“The truth is that most company leaders are too narrow in defining their compe??ve landscape or market space. They fail to see the poten?al for “non-‐tradi?onal” compe?tors, and therefore oFen misperceive their basic business defini?on and future market space. But the biggest threats usually come from oblique compe?tors that are solving the same problem, in a different way with an alternate offering for the customer.” That compe1tor could be a museum. It could be you.

‘‘We don’t want to go back to the same normalcy that we’re coming from. We will create a new normalcy which will stay and keep on moving and change the world.’’

Nobel Peace Prize winner Muhammad Yunus,World Economic Forum 2009, Davos

1. what business are you in right now?

Identity - ground levelhttp://legalpedia.wordpress.com/2009/04/06/islamic-finance-in-the-blue-ocean/

Finally we start doing business

google glass

blue ocean strategy

http://legalpedia.wordpress.com/2009/04/06/islamic-finance-in-the-blue-ocean/


Identity - ideation phase

Big Idea: Power source

Wankel engine effect

vision beckoning power imaginative + influencing draw attention / give direction

mission working power value creating + awareness (identity) / problem solving

relation recruiting power connecting, behavioral change, participation

stra

tegy

stra

teg

y

strategy

http://en.wikipedia.org/wiki/Wankel_engine














A Big Idea is a game-‐changer. It shiMs paradigms and turns category conven>on on its head. The power source of your organisa>on is defined by the core of existence: vision, mission, rela>on, put into one sentence. It tells why your organisa>on exists and for whom.

2. describe the powersource of your organisa>on, using: • visionairy/beckoning power (“look!”) • missionairy/working power (“because...”) • rela>onal/recrui>ng power (“and so, that means…”)

summarize them in one sentence…


Power source: Big Idea

http://www.millwardbrown.com/docs/default-source/insight-documents/points-of-view/Millward_Brown_POV_Big_Ideas.pdf



How can the past help you to understand your identity?


How can the present help you to enjoy your identity?



How can our future help you to make your identity


more versatile?

http://waag.org/en/lab/open-wetlab




















Why? Don't we like museums the way they are?


Fab the Library!KNVI Congres 2014

The first 'museum' was actually a library. Museums and libraries still share the principle of collecting wisdom, knowledge, beauty and amazement. Both function as a meeting place. Together they can contribute to shaping the future, our future.


heritage is conversation… (museums are)


distributed (inside out) connected (social, rela>onal) dispersed (loosely joined)

enabling (interac>on educa>on) temp>ng (for who?) learning (from everyone) par>cipa>ng (in society) building sustainable (rela>ons)

What are the values, ambi>ons, targets, roles/tasks your audience is looking for? Where can you meet?


• Concep>ng (Jan Rijkenberg -‐ BSUR) is bringing thought-‐concepts / big ideas ‘to market’, for the process of aArac>ng audiences, based on the mentality concept of an organisa>on (instead of spending too much budget on marke>ng, trying to convince people).

• Societal marke>ng is the planning and implementa>on of programs designed to bring about social change using concepts from commercial marke>ng.

• by sharing the things and thoughts that are really important to you and your museum, coming from the iden>ty and the values (and the collec>on?), you give your audience the chance to (dis)agree with you and become a follower (instead of an anonymous target group).

Fangagement - followers

Brand - concepting phase


Fangagement - followers; turn museums into a 'lovemark'


Unesco, World Wildlife Fund, Forest Stewardship Council, Amnesty International, Google Art Project… they all use social media to engage their fans.


Fangagement - followers; contributing to a bigger theme


a zoo, which is concerned about the disappearance of the tropical rainforest, starts a conversation about this with the visitors. Together they do fundraising to support something bigger, a transcendent purpose, than the zoo.

http://www.apenheul.com/apenheul/about-apenheul/

R e l e v a n t f o r e v e r R W A 2 0 1 4 Many people think alike these days…

P.E.R.M.A. * Mar>n Seligman

•Posi>ve emo>ons •Engagement •Rela>ons •Meaning and purpose •Accomplishment

approach - PERMA & well-being


http://www.authentichappiness.sas.upenn.edu/Default.aspx


• by knowing what’s concerning your audience, and what the most challenging issues in society are, you have the opportunity to start a conversa>on. Mobile technology and web-‐infrastructure give you the possibility to make this conversa>on personal.

• this way we combine Concep>ng and Societal marke>ng. That’s the basis of value crea>on and exchange.

3.What are the core values, considering your heritage? What is the most daring ambi>on of your organisa>on?

4.Why are these values/issues/topics important for your fans?

value / ambition



attribute to a better world



let your fans attribute to core values in your heritage



being social (and adaptive, non-linear, inclusive, etc.)



Rijksstudio: let your visitors design - fungagement?


https://www.rijksmuseum.nl/en/rijksstudio










Rijksstudio: don't let copyright spoil the fun; share!


Dealing with copyright means dealing with your business model. It also means you have to come up with something else than selling copies to your audience. Cocreation is one of the answers



Rijksstudio: customers as partners - storytelling

https://www.etsy.com/




















sharing a label, values, ambitions: storytelling…

Business - organisation phase

http://www.culturelabel.com/




















storytelling: smart replicas


http://www.maaikeroozenburg.nl/









• describe a main issue your organisa>on is facing, when engaging both audiences and stakeholders and the way finance and funding (or the lack of money) is involved. What is the real boAleneck? (in less than 5 minutes...)

• working on one of the 5 cases in small groups • plenary session with the outcomes of the cases with brief feedback on the general issues

5.describe an issue your visitor is facing when dealing with daily life, informa>on overflow, technology, media literacy, etc.

your case



• Business Model Canvas (Osterwalder & Pigneur) • Systema>c Inven>ve Thinking • Social Engagement Tool • Innovate by doing (just do)

4 tools




4 tools - 1. business model canvas


the business model canvas in a nutshell • how to use the canvas

6.what are the main assets of your museum, what are you good at?

7.what are the main ac>vi>es?

8.describe the most important rela>onships

9.which distribu>on channels (“venues or mee>ng places”) does your museum use?


4 tools - 1. business model canvas



our heritage, our business

http://erfgoed20.nl/english-translation-now-available/













business model value proposition














business model innovation step by step














business model bottom-up

1. vision / mission / relation

2. strategy / values

3. business model

4. social / reach

5. plan / act

environmental factors

as part of strategic change process














4 tools - 2. Systematic Inventive Thinking (SIT)

• Systema>c Inven>ve Thinking (SIT) can be used to come up with new ideas from exis>ng ideas, knowledge and crea>vity, based on the exper>se and assets within your organisa>on

• SIT can also be used for (reinven>ng) your communica>on, engagement and/or use of new media




Systema>c Inven>ve Thinking (SIT) is a thinking method developed in Israel in the mid-‐1990s by PhD students Jacob Goldenberg and Roni Horowitz. SIT is a prac>cal approach to crea>vity, innova>on and problem solving, which has become a well known methodology for Innova>on. Derived from Genrich Altshuller’s (born Tashkent, Uzbek SSR, USSR, 15 October 1926; died Petrozavodsk, Russia, 24 September 1998) TRIZ (теория), which is also known as Theory of Inventive Problem Solving (TIPS): inventive solutions share common patterns. Focusing not on what makes inventive solutions different -‐ but on what they share in common -‐ is core to SIT’s approach. These paAerns, that build somehow the DNA of profitable ideas, could be translated into thinking tools that can be applied on exis>ng situa>ons. Like this we implement this ‘DNA’ in exis>ng products, processes or strategies to create a new situa>ons from the current state that break mental fixedness and make new valuable ideas available, that s>ll are not to far away from the star>ng point.

http://en.wikipedia.org/wiki/Genrich_Altshuller

http://en.wikipedia.org/wiki/TRIZ




SIT works with 5 different thinking styles. These lead to specific and prac>cal ideas on a structured and disciplined way:

• SUBTRACTION Remove an essen>al component from a product and find uses for the newly envisioned arrangement of the exis>ng components. This abstracted arrangement is known as a ‘virtual product’.Generally speaking there is a tendency to add new aspects and func>onali>es during product development. However, successful innova>ons show that oMen more is achieved by removing aspects or func>onali>es. One should take a systema>c look at what impact it would have on the various customer groups if one were to remove a func>onality.




SIT thinking styles:

• MULTIPLICATIONAdd to a product a component of the same type as an exis>ng component. The added component should be changed in some way. The 2 keywords for this tool are: 1) more -‐ add more copies of something that exists in the product 2) different -‐ change those copies according to some parameter.Rather than subtrac>ng elements, one can double or triple certain components of the product. Instead of a two-‐wheel-‐drive one offers a four-‐wheel-‐drive, and one includes five audio speakers rather than four.





• DIVISION. Divide the product and/or its components and rearrange them to form a new product. Using this tool forces considera>on of different structures, either on the level of the product/service as a whole, or on the level of an individual component. Dividing a product to many pieces gives the freedom to reconstruct it in many new ways – it increases our Degrees of Freedom for working with the situa>on. One divides a product into its components, offering modules that can be used to construct the eventual product. Rather than buying an integrated sound system, people can purchase a tuner, amplifier, speakers, DVD-‐player, etc. separately.





• TASK UNIFICATION (MERGING OF TASKS)Assign a new and addi>onal task to an exis>ng resource. Less affluent cultures are more likely to adopt the Task Unifica>on mindset. For example, the Bedouins use camels for a number of different tasks: transporta>on, currency, milk, skin for tents, shade, protec>on from the wind, burning feces for fuel. More affluent socie>es tend to jeDson resources. Here two tasks are merged into one component. For example a coffee machine combined with a thermos.





• ATTRIBUTE DEPENDENCY (CHANGE THE DEGREE OF DEPENDENCY) Crea>ng and dissolving dependencies between variables of a product. AAribute Dependency works with variables (of a feature) rather than components. Variables are easy to iden>fy as those characteris>cs that can change within a product or component (e.g. color, size, material).Take, for instance, a pair of sunglasses. The lenses in Polaroid sunglasses change color when they are exposed to varying amounts of light. The processors of laptop computers, to name another example, alter their processing speed when the baAeries are running low. (source: Wikipedia / HBR 2003-‐05-‐03; Goldenberg, Horowitz, Levav and Mazurski)



systematic inventive thinking

SIT principles: • Closed world: thinking inside the box (define the problem world. Once defined, the problem solver knows that all the building blocks for the solu>on are right there in front of him and that the solu>on simply requires the reorganiza>on of

the exis>ng objects. This adds great focus and power to the method). • Qualita>ve change • Func>on follows form (backwards process; prototyping a ‘virtual product’) • Path of most resistence • Cogni>ve fixedness • Near Far Sweet (innova>on sweet spot): innova>ve enought to be considered ‘new’ / ‘an addi>on’, but close enough to be recognised and understood (most ideas for new products are either uninspired or imprac>cal. Finding the "sweet spot" requires a balance that leads to both ingenious

and viable ideas). 10.What would be the Near Far Sweet for your customer and why is (s)he over there?



systematic inventive thinking

SIT example


Social - relation phase

4 tools - Social Engagement Tool (SET)

• new insights on idea>on, concep>ng, societal marke>ng and par>cipa>on

• explaining the SET board and the steps in working with this tool

11. who to follow and who to involve using social media: why and how could your organisa>on par>cipate in society?

Ready, SET, Go!vademecum / werkboek

Bouwen aan relaties, vrienden maken en de sociale kant van de organisatie innoveren

klaar voor . . .

Theo

Meereboer

COMMiDEA / Stichting E30

SET

inclusief

Social

Engagement

Tool !

download not yet available


SET canvas - from identity to storytelling, together

SET boardIDENTITY

vision

mission

relation

> core text (pay off / premisse)

[credibility]

title/subject

© Theo MeereboerStichting E30 2013

date

participants

BRAND (strategy)

values

ambition

targets

task / role

followers

[attractiveness+ appeal]

business (model)

assets

channels

customers

>> propositions

[profitability]

projects (iterative)

for each project name a.o.- purpose- 5 main ‘elements’ / ‘ingredients’ (what makes them work, what happens if...)- engagement (for whom, why)- media (which, where, when)- milestones (incl. targets & KPI) in visionairy terms- time (urgency, planning, within 5/10 years)

Q: What is the relation to the upper part of the board? And to the lower right part?

[think of sustainability]

Social

call to action

added valuetransition

participation

communication

reach

relevance

stakeholdersbelievers ambassadors

initiatives

interest

involvement

influencers

conversations

conversion

why

how

what

who

moral transactional

12

3

4

5

READY

SETGO!


http://www.slideshare.net/Erfgoed/set-board4










Social Matrix

12

3

4

5

READY

SETGO!


Social

call to action

added valuetransition

participation

communication

reach

relevance

stakeholdersbelievers ambassadors

initiatives

interest

involvement

influencers

conversations

conversion

why

how

what

who

moral transactional


Community management

12

3

4

5

READY

SETGO!



from friendraising to funding (including crowdsourcing)

Practical - realisation phase

• the shortage • the long term

• 5 x R: 1. Research (audience / agora / themes / topics) 2. Reach (media choice, >ming) 3. Rela>ons 4. Resources (content, crea>on, crowd) 5. Relevance!

12.Who are the greatest fans and how can you maintain a (co-‐crea>on) rela>onship with them? What’s it worth? (visits, contribu>ons / co-‐crea>on, meta-‐data, money, etc.)


museum as part of a knowledge ecology - sharing + caring


blog / facebook / twitter / google+ scooop. it! paper.li etc.

+ ‘best practice’ (showcases, project beschrijvingen) + knowledge database (publicaties, presentations) + external sources

seminar

expo / site / museum

event

photo

3D / AR

video

e.g. issuu / slideshare / flipbook / pinterest

curriculum

internship

debate + LinkedIn

game

platform + experience / opinion + news (blog , social media, magazine) + anouncements (event, tentoonstelling, conferentie) + node / hub (social media, contact information)

research

app mobile


peers, friends, fans, fellow heritage professionals


• any customer or user ‘visi>ng’ your museum already said yes. Accompany them on their journey through the whole environment of your museum(Mar>n Barden, Tate)

• Will you offer heritage, art, an experience, products, services, discount, exclusiveness in this journey?

•Are they in for membership, philantropy, benefits, sociability, excitement, informa>on co-‐crea>on...

• how about the brand promise, systems, reten>on engagement, life>me value, customer mo>va>on...

13.does every step, every interac>on in the journey strengthen the ‘bold promise’ of your organisa>on? How can you make the world a beAer place , which rela>onships can be restored?

http://www.slideshare.net/Mediamatic/kjo11-onze-club-martin-barden-tate


Thank you!

Ques1ons? Sugges1ons?

@theomeereboer

S>ch>ngE30.nl COMMiDEA.nl Erfgoed20.nl

collec1ewijzer.nlinheritage.eu

relevant forever hse rwa

Education