Unknown Speaker 06:57
We are here today to talk about our two journals from the Art Institute of Chicago, and the Metropolitan Museum of Art in New York. I think we're going to jump right into the next slide. And we want to acknowledge the land that both of our museums, rest on. So the Art Institute of Chicago is located on the traditional unseeded homelands of the Council of the three fires the Ojibwe Odawa and Potawatomi nations, many other tribes, such as the Miami whoa chunk, Menominee Sac and Fox, also called this area home. The region has long been a center for indigenous people to gather trade and maintain kinship ties. Today one of the largest urban American Indian communities in the United States right resides in Chicago, members of this community continue to contribute to the life of this city, and to celebrate their heritage, practice tradition and care for the land and waterways.
Unknown Speaker 08:03
Hi, good afternoon everyone, and the land acknowledgement from the Metropolitan Museum of Art is the Metropolitan Museum of Art is situated in LANAP evoking homeland of the nappy diaspora, and historically a gathering and trading place for many diverse native peoples who continue to live and work on this land. We respectfully acknowledge and honor all indigenous communities, past, present and future for their ongoing and fundamental relationships to the region.
Unknown Speaker 08:33
So now on to us and our projects, so I am, my name is Lauren Makholm, I'm the Associate Director of Production and manager of Digital Initiatives at the Art Institute of Chicago, and I am a 30 something white woman wearing my hair back and round, earrings, sitting in a room with some very funny art on the wall. And my colleague from the Art Institute is Illya Moskvin, who is our senior developer on the Art Institute's engineering team. Yeah.
Unknown Speaker 09:09
Hi, I'm Illya with sounds like this. I am a lead 20 Something bike guy wearing a black T shirt and blacklists.
Unknown Speaker 09:21
Thank you, Ilya, and our project is the Art Institute review, which is a new journal. It is a peer reviewed online only journal that spurs collaborative, interdisciplinary dialogue and embraces arts radical potential to help us understand culture, history and our current moment, we are looking very much forward to watching this soon, but it will be pummeled published twice a year in the fall and in the spring and Each issue contains six to eight articles, interviews, and creative contributions, And each issue will be guided by a, a team of two. One member of the Art Institute, and one member of, not the Art Institute. Originally this journal was intended to, to provide us with a vehicle for publishing curatorial content and non curatorial content that concerns the museum, as a whole. And so we invite anyone from the museum to propose an issue theme, and a co editor to help edit that that particular issue with them. And then we generate the contributions through an open call for papers that goes out twice a year. We are looking forward to, to publishing this soon and integrating it into our larger digital publishing ecosystem. We have many digital publications long form book like publications on our website and we also have a blog. I will give a candidate over to Illya to talk about the platform that this is filled with
Unknown Speaker 11:07
us. So one of the from technical side, I think one of the long term strategic decisions that we made was to integrate this platform into our main website, so you know, using the CMS, the front end, adapting it for anyone curious, our website is built with PHP using the Laravel framework, and the tool CMS, because the. Well, the first issue of this publication was interpreting fifth. So, we do not have a link handy yet, but if we advance the slide for a moment. We thought we would show you a quick preview of what it looks like there is the detail page. On the left, with some of the more graphic, and an interactive content that will have in the publications example My name is slider. And then we also have a landing page for the issue on the right. Just as a quick preview. Once the publication launches we will share it and the nCn Slack. I know. I said, on to the Med Team.
Unknown Speaker 12:25
Thanks Illya and Lauren. So yeah, as you guys can tell we're going to go back and forth a little bit between the Mets, and the aiic we're introducing arm our different publications, right now. But firstly I'm Sofie Andersen I head up the digital content and editorial team here at the Met, and I'm a middle aged white woman with shoulder length hair salt and pepper. And I go by the pronouns she, her, and I'm here at the offices of the met today with a whiteboard and some actual physical books behind me as more books. So we're going to talk a little bit about our perspectives initiative so about a year ago last month we launched the MVP of perspectives, which is a new online magazine and ecosystem of content, our launch was the combination of a holistic rethink of the mass digital channels that I've been working on with the team. Since my arrival about two and a half years ago, at the Met, where we've really been reconsidering what we make, how we make it, and most importantly who we make it for our approach has been guided by thinking about our audiences first. We took our existing blog program, which is geared towards getting really as many articles out in the world as possible to asking what do people want to read about and how can we sustainably publish at scale, and connect our programs, or research, our ideas to the things that matter to the people out in the world. Our current audiences and our prospective audiences. And we essentially needed a strong editorial strategy where each piece of content has a purpose, and an audience. And we also wanted to dissenter authority by inviting outside voices in, we'll be focusing on perspectives today but I just wanted to mention as part of a much larger content and product strategy across the website, where we're doing a lot of various different kind of publishing models including inviting curatorial and other departments to self author on other parts of the website. I'm really pleased to be joined today by my colleagues. Our executive producer Sarah Wambold, our product designer Madhav Tankha and our producer editor will Fenstermaker will each be talking about different aspects of this project, and I'm going to be turning it over now to Sarah to really talk about how the importance of this project really came to the fore during the pandemic. And, over to you now. Sarah.
Unknown Speaker 14:42
Thanks Sophie. I'm Sarah Wambold, as Sophie mentioned I'm an executive producer at the Met. I am a 40 something year old white woman with brown hair and bangs, and I am sitting in my bedroom in Denver, Colorado. So, we were talking as a group aiic And the Met about these projects that we're publishing and we wanted to put them into a bit of context. Obviously the past 18 months has presented unprecedented hardships, both personally and professionally, but interestingly with museums closed for a substantial period of time. Never before have we had the opportunity to study the behaviors of our online only, only audiences in this kind of isolated manner. This graph is from a recent research study conducted by digital strategists, Marty Spellerberg, and grace Poole. Marty and Grace we're looking to understand the impact of museum closures on website traffic, the y axis here shows performance by session, compared to the previous year, so Above 100% is more sessions in the previous year. Below 100% is fewer sessions in the previous year that dotted line is the average of all museums in the study. So I don't know if you can see my cursor rolling around here but museum closures. Started nationwide at the end of week 11 So right about here. And you can see an orange line and a yellow line kind of continue on an upward trend despite the fact that those closures happened right about there. Those two lines are the Met, and are 21, which is interesting because both institutions have a lot of brand equity built up in kind of evergreen content. The Getty is this other line that you see with a fast, kind of recovery. You might remember that Getty pivoted to their recreate art from home social media challenge at about week 13 Which is what that slope up is, and a little more context, um, last year sliver Lynette, and Lopaka Cohen released their culture check report which many of you have probably read among their findings they concluded that digital only users are more likely to be more diverse, so it's really within this context that we wanted to talk about publishing long form content evergreen content on our websites as opposed to exhibition focused content or more ephemeral types of content.
Unknown Speaker 17:31
So the way that we're going to continue this presentation is that we're going to keep going back and forth between our two institutions and our two projects, and we wanted to address these three high level points. So first we are going to talk about our audiences who we built this for, so that this will really encompass a lot of the kind of groundwork that led us to where we want it to be with these projects. The second is process and sustainability. We really wanted to talk about the nature of our collaborations, what we built, how we built it, and why. And then third is traffic and engagement, and this really mostly concerns planning for the future. This last section will be a little bit different between the Met and the Art Institute, since the Mets project has launched and they have some data and information to share about what they've done since launch, and the Art Institute. We plan to launch on the 25th, so we have some plans for the future. Nevertheless, but the different presentations will will divert diverged at points but we'll come together at the end for some broad level recommendations that we have. So jumping right into audiences for the Art Institute. So I wanted to mention up front, the Digital catalog study from 2019 So in 2019 the Art Institute collaborated with the Getty, the Philadelphia Museum of Art and the National Gallery in Washington DC to study digital catalogs in museums. Following this study we founded the museum publishing digital interest group or muku dig, and I need to shout out there to the muku de Slack, where Elliot, Sarah and I first conceived of this particular presentation. I invite you to go to ditch punch ditch publishing.github.io If you want to learn more about mu dig. But here are some of the main things that came out of that study that really informed the way that we are journal. So the first thing that was most important to understand was whether or not people were really using these type of long form scholarly publications that museums, produced. And that was where we had this resounding and very happy response that yes, the catalogs are attracting a large and diverse user base. So this really gave us the backing that we wanted to launch into this project that was going to take up a ton of staff time and, and a lot of effort in creating a new stream of publishing at our museum. But we wanted to make sure that we went into it in the smartest way possible. So we thought about how digital tools are being used and how people were coming to these types of publications. So, one of the main things that we learned was that navigation was incredibly important. So many users do not enter the catalogs through their home pages, and the structures of digital catalogs are complex, so users needed clear signals to help them navigate and links between the catalogs and the parent Museum website are valued but also require indicators to tell users when they're in the catalog and when they've left. This was what started us down the road of really wanting to use our own website, as the platform for a digital publishing going forward, and it solves a lot of the shortcomings that this study, and just our knowledge of our old platform identified. So the Oski shortcomings that we were looking to move away from were that it's unfriendly. It does not do well with PDFs, it was siloed away from our parent website, and it was generally inaccessible, it didn't have a lot of tools to to bring us up to where we want it to be with with CAG standards and whatnot. So, our aims were mobile friendly, accessible, integrated into our website so that you can move in and out of it and understand that you were in a publication, but that it related to our broader website and content, and to leave behind some outdated features and design.
Unknown Speaker 22:05
So over on the, on the perspective side. Similarly, it was really key for us to ground our work in thinking about our own audiences, and as I mentioned earlier this is connected to kind of a larger rethink of the website as a whole. And as part of that we develop three archetypes, which are here on the slide. Essentially we've got archetypes, on the inner circle it's kind of like an onion, and on the outside, we've got their motivations, so if you can see the inside we've got casual browsers with their motivations being curiosity or being curious, our enthusiasm, the inner, inner circle, being engaged and professionals being informed and looking at our website as a whole, we really felt that there was an opportunity to reach more of the curious and engaged audiences, and that other parts of our website would serve the professionals audience. And this was really a big shift for us. In addition to the kind of editorial approach really thinking about discoverability and connections across the site as one of the, the biggest potential opportunities so bringing people in through editorial content, whether it be articles or video, and then they're kind of onward journeys to more content onto the on the next slide really we, from there we thought about this kind of key part of our problem in addition to what I mentioned earlier being, what kind of content we're creating really we were finding that people would come to the website, they'd get a blog, they would, you know, they would get a newsletter with the blog they would come to the website they would read the blog, but then they wouldn't explore anything further there were no onward journeys so people wouldn't sort of discover the range of content, or connections to larger themes and potentially kind of progressed on from being curious to engaged. So some of the things that stood in our way, we have old systems they've not integrated they were not intended for onward journeys. So again, lots of people coming and then leaving and we know the hardest and most expensive thing to do in the digital space is audience acquisition, and we really felt that we were limiting the impact of our investment by not providing the content people want, when they get here, and then not giving them ways to keep discovering, so we really been thinking what's the, you know, ROI in this business decision, you know it's it's not just this notion of getting content out, but really measurably improving connections.
Unknown Speaker 24:48
So I'm going to jump in here say a few words about why we decided to build the journal as part of our website, and with benefits that's brought. So, I think many of you may be aware that the Art Institute has quite a few publications that were built with a customized version of the Oski toolkit. So, you know, one of the questions that we had at the outset was you know why not adapt the ASCII toolkit to support this journal. More periodical publication. And for us, you know as institution with a internal development team to support such projects. This is this is this is a question about ongoing Nate, it's right about sustainability. The problem with the asker toolkit, at least the version that we have sort of built on a version of Drupal that is nearing its end of life, which is going to introduce all sorts of security considerations, they will need to be addressed, soon, so going into this project we knew that this was coming, you know, coming down the pipeline. We, we had the choice to either upgrade the toolkit to a new version, which would be a huge undertaking, or explore alternate solutions. So there are. Oh and also, 2020 was a tough year and we, unfortunately lost a member of the publishing team, who had the most experience with entering content. And men to the hospital. So between between that situation, and thinking about long term sustainability. We had the choice of either extending our website, or bring a new platform into the fold. And for the past, maybe six years or so, the Art Institute has tried to push towards a unification of technology wherever possible. So the idea of having less platforms to maintain means that you'll be able to use the skills you have, in more areas. This was a big theme in our website redesign and in our choice of projects since then, since 2017. So, by integrating by integrating the journal into our website, we were able to make use of all the tools and effort that's gone into developing the website, and improving it since its launch, we already had a CMS and a front end ready to go and by default, we were starting with a product that already complied with our brand. So, we didn't have to develop something new that would fit the brand instead we would take this product and evolve it to have a more unique brand that suited the, the needs of the channel. So, think. Next slide please. Okay, so, in return, one of the benefits we got, is that we, we're, we're investing all this effort into building out a cerkno platform for the website. But then we can reuse this platform that we build for other publications. They have different needs. So, for example, since the pandemic we switched our member magazine to be online only, and we've had a lot of success with the new version, the new version of the magazine. But this switch would not have been as easy. If we didn't have the journal as a basis to build off of.
Unknown Speaker 29:01
We've also in parallel to developing the journal we took the platform that we built out for the journal, and we released a digital publication Similan catalog like publication from it, which is available online. Today you can go find it on our website. Monica tanam was a big modern. Another thing to think about is the sort of drilling down to the nitty gritty and the like the, the components and the blocks that we build out for these publications. So, with something like the journal. Mr. Katana, we, we want to show you know directivity want to show things that we're not might not be able to show in print. And when we develop these features as part of our website, the rest of our website can make can take advantage of it. We can use it in blog articles, We can use it and exhibition features. There's just a lot of benefit in unifying this effort into a single platform, passing it on to
Unknown Speaker 30:12
quickly this collaboration really involves taking two teams at the Art Institute who are used to producing different types of content and making us work together. So as you can imagine the publishing team has existing methods and schedules and processes for developing books and content, and our digital team has their methods and schedules, and, and I wanted to mention just right off the bat that it came down to really trying to start off by learning each other's processes, and doing the best we could to be super clear at the outset as to what we were building and what the steps were going to be that we were going to go through because we couldn't anticipate that each team would understand different stages of production in the same way. So I have a beautiful engraving of the ship here only to illustrate that when we started talking about galleys in publishing, which is the various rounds of have designed a book that you typically see talking about something very different from what the digital team was talking about, and our collaborators kept sending me pictures of ships, every time I mentioned galleys. But the. But in all seriousness, integrating this separate processes and schedules was a little bit tricky. We have real content at different stages of the process and in experience design and publishing so understanding how we were going to design around fake content or real content was a really tricky piece, and for the journal content wasn't ready until the very last moment, I say, pre launch. And thus, we really didn't have a real content to be designing with when we were developing the platform for us modeling Katana, the digital publication that launch this summer was actually a really useful dry run that we hadn't planned on, but it allowed us to see what it was like to have real footnotes and content and citation tools and things in action for the first time and I'm not sure we would have made our launch on time for the journal. If it weren't for that opportunity. Looking down the line and other other uses of this content, we really have to navigate how brand identity and something like book or exhibition design is going to work, but we can talk about that a little bit later. And I just want to say, because it's always good practice that documenting all of our processes is something that we thought we were doing a good job at, but I would have done even more of, if I could go back and do it again, especially through the last year with layoffs and furloughs, it was sometimes hard to track the process. So, just to call out for documentation.
Unknown Speaker 33:04
So back on the mat side. Our project perspectives is really evolving on two fronts, the platform and the system and the editorial program with many parallel tracks which are represented by the blocks here in the diagram. The platform is a system that undergirds the user experience through categorization and the presentation of our content. Obviously, the editorial program seeks to improve upon the strengths of our blogging program by being more inclusive and drawing on ideas and themes that are relevant to our audiences. The team also worked hard to decentralize the content management of many pages of the website mostly the department pages. In order to distribute the workload and give staff an area to publish content relevant to their professional audiences kind of harkening back to what Sophie was talking about with our three archetypes. These two fronts are not as distinct as this slide represents the editorial program and informs the system and vice versa, which is why we've been developing both at the same time, our product development team is fully agile so naturally we're taking a very iterative approach as we work to make the system and the program more robust. We launched perspectives as an MVP a minimum viable product by migrating two years of previous blog content and employing a system of verticals in streams to organize it. So like aiic using previously published content in order to help build the system as we iterate on the MVP we will eventually provide tertiary tags as part of the taxonomy which is not represented in this model. The fleshing out of this framework was performed by a large cross departmental Working Group which included colleagues and curatorial Conservation Education External Affairs, the list goes on. Here's a shout out to remote work, the convening of this large group of colleagues would never have been possible in person. We met regularly as a full group, we had great attendance and active participation at all levels in these workshops, including an awesome design thinking exercise we called Brain walking to come up with a huge list of audience focus themes. Any single piece of content in this system can appear in more than one vertical every piece of content is organized into several streams. So for example, an article on art protest and public space appears in the art and history, vertical as well as the happenings in news vertical and is tagged with social change, public space and on view our content includes articles, videos and soon to launch audio formats and includes newly published content as we move forward, as well as previously published content from blogs and micro sites, which are being migrated and attached to monthly themes that are promoted on the homepage, and in newsletters. Hi everybody, I'm
Unknown Speaker 36:09
Will Fenstermaker I'm an editor and producer, Matt My pronouns are he, him, is in the editorial half of this could really be the subject of a whole other, you know, hour long presentation so I'm going to go very very very quickly through it and if people have questions I'm happy to kind of talk more about at the end, but suffice to say that you know as, as this, you know, former blog program where people were asked to be excuse me as to basically contribute as much as they felt capable of contributing at any point in time was condensed down into this more editorialized and streamlined, you know ecosystem. And that editorial body now responsible for overseeing the content, had to come up with a system to help people actually manage their input into that to be able to kind of see how, you know their work in the museum related to what the publication was actually producing and helping them kind of come up with a system to rethink the work in the museum along the audience types that perspectives had helped define and also the vehicles that we would actually producing within. So the way that we came up with doing that was a monthly semantic program so essentially the editorial team comes up with themes that are, you know, clicking activities both within the museum, and within culture more broadly, so it's kind of meeting the museums activities with the zeitgeist, and then hosting a series of open houses and other meetings across the museum where people can come and actually become aware of what perspective is producing at any point in time and how they can start thinking about how their programming fits within that. And so we're working about three to six months out on that and as you kind of look further down the calendar, things get a little bit more ambiguous, but that's good because that helps us to actually, you know, redirect the engine towards what the museum is actually producing at any given time, Pretty good. Next slide please. And the other aspect of that was actually winnowing down the forms of what are being produced. You know the another kind of side effect of the blogging program is that there wasn't a lot of cohesion between, you know whether something was an interview, why someone was being interviewed, what our rules were around conducting interviews. And so we went through a process of of actually standardizing the article lengths word counts image counts all based on what we knew about how people were interacting with our content what their drop off rates were what they tended to be interested in how long we can maintain their interest and carried that through into our interviews and other formats as well. Next slide please. So why the articles and interviews kind of formed the basis of what we're publishing once we had that ironed out that allowed us to experiment with different kinds of forms so we launched a form of, you know, a kind of interview form that we've been going round table. But more excitingly, was this close look feature that we piloted in February and, and this is, you know, a new feature that fits within the perspectives ecosystem it's built along the same tech stack, but because it comes out of that editorial programming it allows people to actually, you know essentially pitch and propose articles based on their programming, and we can control the content that's coming through that pipeline a little bit more efficiently, and I'll drop a link to one of those in the chat, because I think that one's really exciting to kind of look at on your own time when you have a moment. And that's it for me I know those really quick, but we can,
Unknown Speaker 39:46
um, other than CART product designer, the match booked on perspectives as well referenced we have on the design side a collection of templates that we've created. And when our constant process of improving and expanding on them for perspectives. These templates are built using the design system that the product design team has created over the years and so the elements used across the templates have not only internal consistency but are also aligned with the look and feel of the site. We also do usability testing to make sure that information is clear and digestible and that people have clear pathways, creating meaningful pathways and connections between our content is a major area of attention as we've mentioned earlier, and we are in a constant process of dialogue with our colleagues who are writing the content about what building blocks we might need next which ones are working well or not working. If the ideal way to author things in CMS has implications for the design, those kinds of things, so it is a balance. Keeping an efficient and non overwhelming number of building blocks, while allowing for the flexibility that both the writers of the content as well as the readers of the website need so that the art and the narratives are presented in the way that they need to be. Next slide please. We didn't start from complete count zero tempting God maybe from a design and tech perspective, we started with an audit of all the wonderful varieties of experience that have been built up over the years in the past, because there's a lot of great stuff there, innovative ways of looking at art, sculpture and 3d sound in relation to art documents conservation stories, chronological narratives, stuff that we don't have on the main website. So we use the most frequent and most important ones it's starting points but we constantly go back to past projects in order to bring work that's been done in the past into a more sustainable present. And we're also experimenting with potential new narrative techniques at all times. Again in dialogue with our editorial colleagues, and even here using content made in the past is a good way to guess at least partly whether a format can truly bank life story in a compelling way or not. Next slide please pass it off to my ese colleagues, thank you.
Unknown Speaker 42:06
Thank you. So, looking into the future. You know the art journal is really based on the premise that the, the museum is a place that can act for a forum for conversations about museums conservation, arts and all of the various topics that we touch upon in our work all the time. So the creation of this journal is really something very new for us because it's not based solely on our collection, but it's based on the premise that we have. We have a role to play in the creation of this ongoing scholarly conversation, and the production of knowledge around these various topics. So a lot of people aren't looking to find this exactly where we're putting it. So as we think about launch, we're thinking about ways that we index and make this this content fundable. We have a wonderful board who may represent all sorts of of industries and people who who intersect with the museum and its work, but we're also for the first time, actually, associating DUIs and an ISSN to all of our content. In, am I still here. Hello. Yes, you're here.
Unknown Speaker 43:42
She was Laura now you're muted. Hello.
Unknown Speaker 43:50
Um, so we're assigning DUIs and ISSN to all of our content and we're working through crossref.org, in order to try and track citations. And I'm also currently looking into getting us into the following directories, J store open access journals, the Directory of Open, open access journals, and the digital art history directory. As we look into our analytics and keep an eye on the project going forward. I look forward to sharing other other tips and things that we find. So our future issues just to let all of you know and so that you can keep an eye on this particular project. Issue number two is data, which will be super interesting from a development standpoint because we have scholars who are looking to incorporate datasets and visualizations into their work on museums, and art and art history and conservation issue number three is called Institute, an issue for his love. So, we look forward to sharing those with you as they come along, and I'll hand it over to Illya to talk about the way this is impacting future.
Unknown Speaker 45:00
Oh yeah. Lauren already hit on some of the big themes but the idea is like when you have content like this it doesn't relate directly to your collections, how do you surface it when people do your collections which we know to be a big entry point into our site, part of, part of the coverage trying to think about it is, maybe, improving our taxonomies, and figuring out ways that are the current overlaps between our website taxonomies and our collection taxonomy. So surfacing surfacing constantly sticks on it was another issue that we've had is, how to show search results in our website of very long form content that we're getting increasingly more of with these digital platforms, that's still an open question for us but we're looking forward to solving these from a technical and UX standpoint.
Unknown Speaker 46:03
So, um, for
Unknown Speaker 46:05
future plans, I'll run through this really fast since we're running out of time. We recently conducted a one question survey on perspective with which asked users what is the biggest impact of your online visit today, the responses were not necessarily meant to align with our audience archetypes, the casual browser the art enthusiasts their professional, but the results did end up validating our framework in some ways, plus we gained valuable insights into the behaviors and motivations of our prospective audiences, for instance those seeking inspiration come via organic search, they're mostly on mobile devices, and they're the highest proportion of new visitors, these are casual browsers. Our art enthusiasts comprise the three tier teal colored pie slices, they are mostly on mobile devices, they're the highest proportion of people coming from our email newsletters, and they are looking to learn something new, by enlarge our art professionals are desktop users. They are 45% International, and the percentage of returning visitors to the Mets website is higher. Most of these users are coming via organic search. So we will use these findings to hone our editorial our content and our communication strategies including a site wide universal tagging project, leveraging our online collection traffic, and our upcoming guest editor program which I'll throw to will to talk about very quickly.
Unknown Speaker 47:44
Sorry I can kind of move on yeah the guest editor program is something that we're conceiving of as a, as a biannual issue where we're inviting people from essentially outside of the museum world to curate small issues out of our collection so you know what you see here is an example issue, imagining Hilton halls commissioning a section on queer portraiture in the Met collection featuring poems by ocean Blong works by is normally an interview with Louie for Tino and then around above works for from the Met collection and the idea here is really to you know get back to the to the root of perspectives his name and to open up the platform for non curators non scholars and non academics to think critically about the Mets collection and its programming.
Unknown Speaker 48:39
So just bringing us home I know we're almost at time at few recommendations across both groups. Be brave. Change can be hard, but disrupting workflows and expectations can lead to push back but there's, you know, importance in thinking about the why and bringing people along on their journey, being able to articulate why you're doing what you're doing, really thinking about decentering authority and concern in the museum as a place that can truly encompass more types of stories and storytellers. So thinking outside of the box. We've also seen how important it was to have content in our archives during the pandemic, this is a worthwhile investment the long tail of evergreen content, allows you to build new types of publications that you might not even have imagined yet, and thinking about parallel tracks of development so with your system and your editorial guidelines and criteria, making sure you document along the way and sharing what you're doing with your colleagues again back to the first point. And then for these institutions for both of our large organizations using the museum's website was an important starting point, at our scale it was ultimately the right decision for sustainability, to be able to test and learn and for future iterations and kind of, as you've heard in a number of ways, folding these publications into larger ecosystems, we've made, you know, great content, and these help us to create stronger foundations, where our positions are now in a position to, to bring our content to greater audiences. So, right on the hour, we'll admit we thought until we started this that we had a full hour to talk to you all. So hopefully if you've got questions we are allowed to stay on to hear those, but just also acknowledging the labor involved in these projects are few of us on these panels from our organizations but it's obviously much much much larger teams that are involved in giving input advice counsel or actually doing the work of getting these projects done. So just want to acknowledge that for both of our teams and thank you all for listening. Looking forward to your questions.
Unknown Speaker 50:43
Thank you all so so much. I know we're getting kicked off of this channel, but, or this, this particular Zoom, but we're happy to answer some more questions in the Slack so if you go over, we can answer them there. Thank you so much for attending and we look forward to talking to you more about these projects, and maybe see you in the wrap up.