Tired of just looking at paintings? Now it’s time to get inside them!
Ever wanted to recreate a version of Vermeer’s Milkmaid in your own kitchen or get together with your friends on a Saturday night out and recreate the scene in Leonardo Da Vinci’s The Last Supper? A brand new website, VanGoYourself.com, designed to get people to rediscover and engage in classic paintings from around the world in a new and exciting way, will be launched on May 15, 2014.
VanGoYourself encourages you to recreate classic scenes from some of world’s most famous paintings in a contemporary setting, which you can then share with your friends on social media. The site will feature works from Masters such as Van Gogh or Rembrandt – with over fifty paintings from more than ten collections in seven European countries all just waiting to be recreated!
The participating collections are the Rijksmuseum in Amsterdam, the Amsterdam Museum, the Van Gogh Museum, the Royal Museums of Fine Arts in Brussels, the National Gallery of Denmark in Copenhagen, the Herbert Gallery in Conventry, the Royal Pavilion and Museum in Brighton, the Compton Verney Museum (UK), the Villa Vauban in Luxembourg, the Saarlandmuseum in Saarbrücken and the Simeonstift in Trier in Germany.
So how does it work?
First channel your inner artist then pick a classic painting from the selection on the VanGoYourself website. Get together with your friends to recreate the famous scene, take a snap and upload it to VanGoYourself, which will twin your new master with the original artwork for you to share on social media, thus immortalising your artistic talent for all to see!
The site allows you to choose the level of difficulty –do you want a painting that is ‘easy’ or ‘challenging’ to recreate? You can choose paintings with ‘selfie’ potential or ones ‘for lovers’. The site is free and simple to use, and links up to existing widely used social media channels such as Facebook, Twitter, Pinterest and Tumblr.
Who is behind it?
VanGoYourself is a Europeana Innovation created by a group of people who love museums, paintings and having fun. It is the brainchild of Culture24 and Plurio.net in Luxembourg, both non-profit, independent art entrepreneurs with a sense of humour. They have a track record of successfully working internationally to support arts and heritage venues to reach audiences online and to challenge the views of some people who think museums can be boring.
The work is part of Europeana Creative, a European Commission funded project to enable and promote the greater re-use by creative industries of cultural heritage resources aggregated by Europeana (wwww.europeana.eu).
VanGoYourself is a responsive webservice built in WordPress by Surface Impression in the UK. The design is by the Europeana Creative partner Spild af Tid in Denmark and the image twinning tool is built by the Europeana Creative partner Austrian Institute of Technology in Vienna.
What is the background of the Europeana Creative project?
26 partners from 14 European countries are all working together in the Europeana Creative project, which is coordinated by the Austrian National Library and co-funded by the European Union through the ICT Policy Support Programme. Europeana Creative enables and promotes greater use of our digital cultural heritage by Europe’s creative industries. We develop innovative applications for education, tourism, social networks and design and run a number of open innovation challenge events with developers, entrepreneurs and heritage experts. For more information, visit us at www.europeanacreative.eu and join in the conversation @eCreativeEU .
What is the added value of VanGoYourself for museums and collections?
The service offers a genuinely different and surprisingly deep way for visitors to engage with heritage, based on emotion, playfulness and curiosity. As well as existing as a simple online service, the idea can be deployed by tourist offices, museums, cities, tour guides, etc to promote specific destinations, sites and events.
It provides the touristic sector with a way for audiences to have an emotion collection to a place through a playful interaction with its own cultural heritage. It has been built so that spin off collections of twinned images can be offered based on the collections from one specific city or museum. This can then be used to support live events, workshops and participatory activities and easily integrated into existing marketing schemes in a light weight and cost effective way.
Culture24 was so excited to be partnering up with Arts Council England, Creative England, Google and the European Creative Industries Alliance to curate a conference focusing on ways to stimulate growth for the arts, cultural and creative industries by seizing opportunities online. The conference took place in London on 19-20th November 2013 and was hosted by Google. Read the full programme.
As part of the conference Culture24 organised a fascinating session exploring what cultural businesses can learn from young YouTubers, focusing on reaching audiences via the right channels and with the right content. More than 2.5m people subscribe to Danisnotonfire, the YouTube channel of 22 year old Dan Howell. In the session we heard from Dan and various young people who comprise his audience on why they tune in.
Chair Rohan Silva with vlogger Dan Howell, YouTube exec Rich Waterworth and the Culture24 panel of teenagers – Mattie Simpson, Ava Finnis-Brown and Charlie Hulejczuk
Culture24 also participated in a session unpacking what great digital curation looks like and how collaboration can work for the cultural sector online? Alongside case studies from the Google Cultural Institute, the Imperial War Museum and the British Postal Museum, we talked about our Connecting Collections project, which aims to create a new digital service enabling children, young people and teachers to discover and use digital collections content in interactive, exciting ways. We discussed our unique approach that will curate and publish digital collection objects from a range of museums in child-friendly, fun and flexible online environments.
And we were pleased to bring in a range of experts to provide invaluable input throughout the conference including one of our trustees Matt Locke, who chaired the final session exploring what insights from the conference mean for the future shape of the cultural and creative sectors? In addition Lana Gibson from the Government Digital Service, who recently spoke at our Let’s Get Real conference focusing on digital change, explored how using data analytics can help build audiences online. Other experts and attendees included those from many of the cultural organisations we have collaborated with as part of our Let’s Get Real action research projects.
Culture24 trustee Matt Locke from Storything, was MC for the day and opened the conference.
On Monday I went to my second Museumcamp unconference in Birmingham. The idea of unconferences developed from barcamps, the overnight intense workshops for developers where everybody has to speak and the aim is to put together a prototype by the end of the event. An unconference brings together a group of people with a shared interest – in this case, people who work with or in museums, or simply like them.
Nobody had to lead a session, but everyone was welcome to suggest an idea. They could even say “I have a question about this and I’d like to talk about it – if anyone has any thoughts or ideas that could help, please come to my session and share them!”
Birmingham has already hosted a librarycamp and a gallerycamp, and the unconference model where everyone can learn, teach and ask questions could be useful in any industry.
I led a session about taking part in the Museums at Night festival and how to enter the Connect10 competition to win a top artist and £2000 towards your Museums at Night event, which a wide range of people came along to. People who had run after-hours events and Museums at Night events in the past chipped in to answer questions and share what worked well for them, which was really inspiring for me as well as – hopefully – for the others in the group.
I also took part in sessions about engaging new audiences and communities, fundraising, online publishing, getting PR, serendipity and creativity and social enterprises.
The most unexpected session sprang up over lunch: I was talking with one person about how we used Twitter, who then said she thought our conclusions would be useful to at least one another person – so we found ourselves offering a session for people to share how their institutions tweeted, the challenges they faced around social media, and the types of content that attracted the most clicks and comments.
It was great to get out and meet lots of the people I normally only communicate with via email newsletters, and to hear about what they look for from Culture24 and Museums at Night. There’s no substitute for spending time with the people who use our services and hearing about the specific issues and challenges they’re facing struggle with, as well as the creative ways they work around resource and time limitations.
Of course, I also have to mention the delicious cake which was on offer throughout the day: as we arrived, everyone decorated a cupcake which functioned as a conversation-starting “social object”. Congratulations to Mar Dixon and Linda Spurdle for organizing such a friendly and useful day!
Culture24 co-ordinates Museums at Night, the annual festival encouraging new audiences to discover culture and heritage venues on their doorstep in a different light.
This year was the festival’s fifth birthday and we are thrilled with just how many people – more than 145,000 – helped us celebrate all things great in the Arts and Heritage world back in May. It was quite a birthday party.
The campaign has grown rapidly since Culture24 took it over in 2009, largely because of our many partnerships with the likes of Future Shorts, the Faber Archive, Sky Arts, Love Art London, Time Out, National Trust and many many more. Success is made possible by the ongoing support and love of the Arts Council through the Renaissance Strategic Support Fund and Grants for the Arts.
The results from the 2013 festival have now been evaluated and here is a summary of the highlights.
Key achievements in 2013
- 411 arts and heritage venues opened their doors at night
- 583 events took place
- 200 UK towns hosted events
- 145,841 visits were made to events
- 30,000 public votes were cast in the Connect10 competition for venues to win artists
- 4,375 visits (3% of all visits) were made by people who had never been to an arts or heritage venue prior to Museums at Night
- 42,294 visits (29% of all visits) were made by people new to the venue they visited
- 97% of visitors rated their experience as 7, 8, 9 or 10 out of 10
- 97% of visitors were inspired to visit other heritage and arts venues
- 908 pieces of media coverage (excluding TV & radio) with an audited value of £1.7 million
- £1.65m spent by visitors on secondary items such as food, drink and travel
- 94% of venues say they will take part again in 2013
Artists participating in the Connect10 competition in 2013
The Connect10 competition is an exciting new development within the fesival. It offers UK arts and heritage venues the chance to ‘win’ one of ten adventurous contemporary artists and a share of £7,000 for their Museums at Night event.
Charlotte Richards heads up the Insight team at Penguin, looking for innovative ways to support faster, better business decisions and drive performance through the power of insight. She is responsible for developing and executing Penguin’s data strategy, to ensure that the needs and behaviours of the consumer are at the heart of business decision making. She’s a passionate advocate for the “democratisation” of data and has had experience delivering insight-driven solutions.
This is the text of her keynote talk at Culture24′s Let’s Get Real conference in Brighton on the 16th September 2013.
A very modern bird: Bringing new insight into a heritage business
A bit about Penguin
I’m sure that many people in this room have heard of, read, probably even loved a Penguin book at some point in their lives. Penguin is one of the world’s most loved and recognised brands, synonymous with heritage and publishing excellence, and for nearly 80 years we have published everything from classics to children’s to cookery.
But this isn’t the only side of Penguin worth knowing. In 1935 Allen Lane wanted a mascot that was ‘dignified but flippant’. And for us that means that innovation is core to what we do. We were the inventors of the paperback; we introduced the Penguincubator, a vending machine for books on train platforms; we were even the first publisher to have a website. And today I wanted to talk to you about another journey into innovation that is in progress as we speak – the launch of the Penguin Insight Hub, and what we have learnt and are continuing to learn about bringing together the worlds of data, analysis, creativity and heritage.
Where did the Insight Hub come from?
As I’m sure you’re all aware, the world of data has done nothing short of explode – 90% of the data in the world today was created in the last two years. Digital retailers, social media, smart device ownership: all these things and more have contributed to the profusion and abundance of so called ‘Big data’. And it’s only going to get bigger.
Not only that, but consumers have become much more data savvy; and they have been trained by retailers such as Amazon to expect relevant, mutually beneficial relationships with brands. Their options are broad, their attention spans are short, their standards are high – so you only have one shot at proving to them that you are worth their time.
But if the risk of losing consumers is growing, so is the opportunity to bring them closer to your business than ever before. And using and understanding data is the key to making this happen. At Penguin this opportunity was recognised at the highest level, and at the beginning of 2012 it was decided it was time to create a central analytics ‘hub’ to bring data to life in a publishing context.
I joined the business last year, with no experience in Publishing, but lots of experience in helping businesses such as Visa, B&Q, Waitrose and JustGiving to use their data to understand their customers. And so the journey began.
How did we do this?
Before we could get anywhere near doing any clever analysis or targeting, we had to find some data to work with. I have often found that people believe their business to be very data ‘poor’; that they have no data, or that the data they have is useless. And Penguin was no exception. But it’s amazing what you can find when you lift the lid, have a good root around and discover plenty of dusty old spreadsheets or hidden files that nobody ever thought was useful. Once we started to pull this data out into the open it was remarkable how ‘rich’ we were – to the point of drowning in the volume of information that was available.
So our next step was to bring all these different sorts of data together: a marriage of many types and forms of data, to create a single source of the truth. This was fiddly work – making sure we understood what the different bits of data meant and how they all fitted together. But, with a bit of focused time and effort we were able to create ‘The Engine’ – our database and the foundation for everything that we do.
Once the data was in place, we brought in new tools to make our data beautiful to look at and easy to understand. We have been using a brilliant data visualisation tool called Tableau. We’ve replaced manually created excel charts with automated dashboards; allowing the business to ‘self serve’ and get the data that they need faster and in a more visually appealing way. The key principle throughout has been ‘data democratisation’ – putting data in the hands of the business, rather than keeping it locked away out of sight.
Finally, we’ve established a small team of specialists to enable us to provide expert advice in an area that was entirely new for Penguin. During the recruitment process we looked for technical analytical skills – using tools such as SAS, R or SQL – and practical experience in things like pricing analysis, model building and marketing performance measurement. We’ve recruited outside of Publishing from analytical teams in sectors such as Supermarkets and Charity. Partly because the sorts of skills we were looking for are more common in these sectors, but also because a core part of the Insight Hub’s role is to bring new approaches into the business and to challenge the status quo. It can be tough to take this approach – there is so much that the team and I are learning about publishing every single day – but having fresh eyes on long standing challenges can be really powerful.
This wasn’t enough – however – as you can have all the fancy data and shiny tools in the world, but it won’t help your business if people don’t see the value in it! So we had to prove the approach, one case at a time, working with people across the business to use data to solve their specific business questions. We looked at marketing performance, trying to quantify the value of posters in train stations; the impact of local events, proving to authors such as Clare Balding or Alain De Botton that their efforts in attending book fairs and signings were worth it; and the trends in online search, tracking what was ‘hot’ each week and how Penguin compared against competitors. Even just from the initial case studies, we started to pull out some useful stats and facts about our consumers. It may seem trivial that we identified that readers of erotica and romance were more likely to live in Middlesborough than Tunbridge Wells, but as a starting point for understanding who our consumers were, it was an easy first step for the business to make. The great thing about this approach was that with each case study delivered, we started to make it really clear to the business how we could help them in their day to day jobs. And that is the first step in winning hearts and minds.
What have we learnt?
I was once told by an ex-boss that one of my strongest skills was that I wasn’t afraid to ask the ‘stupid’ question – I tried to take that as a compliment (!). I think what it means in practice is that there is real value in questioning long-held assumptions, in trying to get to the bottom of why and how things are being done, and being open minded in finding alternative solutions. It’s also about being disruptive, in a positive way – being willing to make a change, even if that change isn’t always ultimately successful. Facebook’s philosophy isn’t ‘Move fast, break things’ for nothing; the fear of failure can be far more damaging than the actual impact of failure, but changing people’s perception of this is a real challenge.
For example, an area where you often see this challenge is measuring marketing success or failure – in an industry where you are selling toilet roll or celery, a ‘bad’ campaign might not seem so bad in the long run, as you can always have a go at selling toilet roll again next month or next year. But in an industry where books get one shot at being launched, and the teams involved have a genuine emotional connection with the content and the author, talking about marketing hits or misses can feel very threatening. We’ve tried to tackle this by finding advocates in each area of the business – people who have a natural affinity with data and who are happy to be guinea pigs in trying new things. These advocates are absolutely invaluable, as working with them provides the credibility needed to persuade those who are more resistant to trying a new approach.
Myth busting has also been core to what we have been trying to do: taking the things that everyone ‘knows’, or assumes, or has inherited, and trying to find the facts beneath them. And these myths aren’t unique to one business – you find them again and again across many different industries.
One common myth is that there is a single, right answer to everything: unfortunately, analysis is all about interpretation, and so there may not be a ‘right’ answer. You need to be willing to try different things, experiment, and see what works – the reality of analytics is that it is much closer to a jigsaw puzzle with half the pieces missing than a mathematical formula with one, pre-determined outcome. ‘Success’ can and should mean different things in different circumstances – it might be an increase in sales or profit, or an increase in the number of people who have liked you on facebook, or an improvement in the quality of the data that you send out to partners about your products or how ‘hot’ your brand is on google. The full picture of who your customers are and what they want from you can only be understood when you look at it from 360°.
To be a force for positive change in a business, insight has to be approachable, not impenetrable; useful, not just interesting; and about people, not about data. I think that a common misconception is that the purpose of analytics and insight is to replace human decision making, or to stifle creativity. There is no replacement for the brilliance and ingenuity of the human mind – insight should support innovation, not stifle it, by providing a foundation for making brilliant ideas even more brilliant.
So, our journey so far has led us to a point where we have launched an analytics service to the business and are starting to make a real difference in how we understand our consumers. But we are nowhere near our final destination. The biggest change is not a systems or data one; it’s not about building the perfect analytical model or finding the ‘killer’ data source; it’s a long term cultural shift in how people view the role of data in their day to day jobs, and building confidence and knowledge in using and talking about this data across the business. However, if I’ve learnt anything from my year at Penguin, it’s that you shouldn’t be afraid to start, just because the journey is a long one; the benefits from taking just the first few steps are enormous. And just because your business is associated with words such as heritage, or culture, data can and should still be a core part of your future relationship with your consumers.