Schedule2018-11-30T14:33:38+00:00

Collective Imagination Schedule

Regardless of your skill level, Collective imagination will leave you inspired, with fresh perspectives on collection and museum technology.

Key Dates Details
April 1, 2018 Early Bird Registration Begins
December 1, 2018 Early Bird Registration Ends
March 25, 2019 Standard Registration Ends
April 8, 2019 Pre-conference Workshops Day 1
April 9, 2019 Pre-conference Workshops Day 2

Speakers Reception

April 10, 2019 Day 1 of Conference

Evening Reception

April 11, 2019 Day 2 of Conference

After Party

What to Know Before You Go

Collective Imagination 2019 will be held at the Radisson Blu Royal Hotel, located at Golden Lane, Dublin 8, Ireland. Sessions will take place in the Goldsmith’s Hall 3, Field Suite, Swift Suite, and Pearse rooms.

Registration opens at 8:30 am on April 10, 2019. Breakfast is included with hotel room rates.

Conference Breaks and Lunch

Refreshment breaks will be provided between sessions throughout the day, and coffee, tea and snacks will be available for conference attendees. Attendees will be provided with lunch at the Brasserie de Verres en Vers.

Conference Sessions

From Kiosks to Linked Data: the Digital Cataloguing and Management of the National Gallery’s Collections

Keynote

In 1990, The National Gallery’s on-site, self-contained Microgallery was at the cutting edge of the digital presentation of collections. In 2000, we became the first UK museum to adopt TMS, since when we’ve used the system to manage our collections, but not to catalogue them – we still use printed books. In 2019, with a recently-appointed director, we wish to publish rich, deep, digital information about our collections. I will talk about how we’ve used TMS to manage our collections, catalogue them, and present them to our audiences in the past; what we’re doing now; and our plans for the future.


Rupert Shepherd, Collection Information Manager, National Gallery, London

Archives and TMS: Configuring, Cataloguing, Cleaning, and Communicating

M+ policy has always been equality between our collections, whether artworks, design objects, moving image, or archives. For collections management and curatorial access, this means managing them on the same CMS. This presentation, by the Database Manager and the Archivist at M+, demonstrates how we configured TMS to catalogue archives according to ISAD(G), cleaned up a mass of legacy issues that had built up prior to this change, and how we are now working with our digital team and software developers towards making our archival collection available online on the same basis as our art, design and architecture, and moving image collection.


Kevin Forkan, Archivist, M+

Jim Whittome, Database Manager, M+

Provenance, File Cards, and the Central Depot; Online Access to Records of Looted Artwork

The Central Depot for Confiscated Collections was established in 1938 as a depository for objects looted by the Nazi regime from Viennese Jewish collectors. File cards were used to catalogue the art objects. In order to make this historical material publicly available, we scanned and transliterated the sources and added them to our TMS database, which feeds the publicly-accessible website. For the provenance research community we implemented an access-level to allow scholars to add related information, which is gradually being added to the public website and TMS. The online edition aims at building historical consciousness and making provenance research in Austria more visible. Since summer 2018 the website is bilingual.


Peter Kloser, Administrator, Kunsthistorisches Museum 

TMS at the Met

At the Met, TMS lies at the center of a complex system of workflows, administrative processes, and integrations that are integral to the day to day operation of the Museum. This is a high-level overview of these processes, including our integration with our digital asset management system, our website, and how we use TMS for loans, exhibitions, and acquisitions. We will also take a brief look at some of the tools we use to supplement our processes, like using Jira for tracking our work, Confluence for our documentation, and PowerBI for visualizing our data.


Ashley Hall, Manager of Collections Information, The Metropolitan Museum of Art 

TMS in Duesseldorf: Highlights and Solutions from 15 Years of Collaboration

The Digital Archive of Art and Culture (d:kult ) is a network of multiple cultural institutions in Duesseldorf under the umbrella of the City of Duesseldorf. The aim of the network is joint collection and information management. Since 2004, the project has used TMS for collection management in a single database instance for all associated partners. The range of partner institutions covers A, like the Aquazoo / Loebbecke Museum to Z, like the Zero Foundation. The documentation needs cover natural history collections, as well as theater collections and production events, modern art and audio-visual or mixed media collections, archival material, information objects, and more. Despite the great variety of collections, the institutions have many processes in common, such as online publication, the serving of standardized exchange formats like LIDO, and so on. Additionally, central services for the museums such as conservation and provenance research are documented in TMS. Highlights and solutions from 15 years of joint collection management in d:kult will be presented.


Gisela Schulte-Dornberg, Project Manager and Head of the Digital Archive of Art and Culture in Duesseldorf

Connecting Experts: How to Effectively Use Personas and Journey Maps

The technical ecosystems of many cultural organizations are complex and ever-changing. However, many of us find our rich, cultural heritage information often separated into various “data system” silos. Jack Ludden (Assistant Director, Head of Digital Experience and New Media Development) will explain how cultural organizations, such as the Getty, can employ simple yet effective user research practices to more effectively manage rich data sets. With the help of personas and journey maps, an organization can create a more cohesive set of internal procedures while improving public-facing user interface and information access. Jack will discuss how these tools enhance the ability to listen and respond to both internal (staff) as well as external (general public and/or scholars) concerns in order to build better user experiences. These tools help clarify workflow procedures, application enhancements, and user interface features. Visualizing the collection management process and capturing the motivations of key contributors has a real impact on improving information workflow and data access. Regardless of an organization’s size or collection type, it is essential that cultural heritage experts (e.g. content experts, management, enterprise architects, front-end developers, etc.) within an organization each understand their impact on the entire process. Personas and journey maps are excellent at not only identifying each expert’s unique point-of-view, but also illustrating how each of them interconnect and, ultimately, impact online access and discoverability.


Jack Ludden, Assistant Director, Head of Web & New Media Development, J. Paul Getty Museum

Technical Solutions for Everyone: How the Getty Uses Accessible Technology to Manage TMS Data

At the Getty Museum the Collection Information & Access department works closely with museum partners to manage collection data and enhance its access. One of the major benefits of a large institution is that such a department exists, however many of the solutions developed to manage collection information can be accessible to all institutions and those in technical or non-technical positions. This discussion will explore a few key examples of recent TMS data projects that relied on practical and intelligible technology to increase efficiency, enhance interfaces, and ensure data integrity. Development of these data projects is facilitated by coherent communication between the CI&A department and information technologists, registrars, and curators.


Autumn Harrison, Project Management Coordinator, The J. Paul Getty Museum 

Work–Expression–Manifestation–Item: How Can we Archive the Unarchivable?

In 2006, the Convention of the UNESCO for the Safeguarding of the Intangible Culture Heritage entered into force. Within the local network d:kult at Düsseldorf, there are three participants dealing with intangible heritage and time-based media: the Filmmuseum collects and presents film history, the Theatermuseum (local and regional) holds theatre history, and the IMAI is dedicated to media art. This session will describe how these three institutions manage the works, their expressions and manifestations, and the items with regard to traditional documentation approaches while still considering recent standards and data models. Another key theme will be preservation issues and collaboration with external experts. At the IMAI and the Theatermuseum collections of videotapes and other carriers have been or will be digitized and these digital versions have to be managed as separate objects, linked to the “original” and its context.


Margret Schild, Head of Library, Theatermuseum Düsseldorf

There and Back Again: Exhibition Data and Workflows at LACMA

The Los Angeles County Museum of Art (LACMA) has installed over 170 exhibits over the past five years – both traveling and non-traveling. Due to such a high volume of data, staff work together to leverage TMS during the process of planning, tracking, install/deinstall, and traveling shows. Our current system produces a web of data across the object, exhibition, loan, and shipping modules as well as utilizing dozens of crystal reports to produce everything from checklists to loan agreements to crate labels. Interdepartmental workflows converge in TMS with data entry and management spread between Registration, Curatorial, Exhibition Planning, and Collection Information & Digital Assets. This session will be an overview of our loaned exhibition workflow from a show’s approval to final dispersal, exploring how we use TMS in our collaborative approach to data management.


Amanda Dearolph, Database Administrator, Los Angeles County Museum of Art

Monique Abadilla, Senior Assistant Registrar, Los Angeles County Museum of Art

TMS Media Studio: Security, Migration, and Going-Live

The Museum of Fine Arts, Houston will present their third in a series of CI presentations discussing their long journey into digital assets management and the implementation of Media Studio. This presentation will focus on how TMS security departments and groups proved to be of key importance in planning how Media Studio would be used, along with issues related to the migration of assets from their legacy DAMS into Media Studio, and how the implementation has been received since going-live.


Matthew Lawson, Digital Assets Administrator, Museum of Fine Arts, Houston

Marty Stein, Photographic and Imaging Services Manager, Museum of Fine Arts, Houston  

David Thompson, TMS Administrator, Museum of Fine Arts, Houston

An Efficient and Reliable Workflow? Practicalities and Technicalities Using TMS and Conservation Studio

TMS Administrator Hilde Bøe and Registrar Tine Haislund will present the practicalities and technicalities of  the Munch Museum workflow for exhibitions, loans and conservation in TMS and Conservation Studio. This workflow was developed the workflow to accommodate the needs of curators, registrars and conservators as well as to save resources. The Munch Museum is organising more exhibitions and lending and borrowing more artworks than ever before, so we really need an efficient and reliable workflow.


Hilde Bøe, TMS Administrator, Munch Museum

Tine Schmidt Haislund, Registrar, Munch Museum

Getting the Most from your Crate Storage by Using TMS Shipping Module

Like many museums, the Delaware Art Museum needed to overhaul an overcrowded and under-organized crate storage space. The registrars realized that the time and energy spent in evaluating crates for retrofits could be avoided. The current set up and workflow made it difficult to know which crates were on site, much less available for use. We set out to use the information within our TMS Shipping Module to help solve this problem. Learn how the museum used our existing systems to help evaluate, catalog, and organize empty crates. Now we have the ability to optimize space, save time, and reduce future costs for outgoing loan borrowers. Our hope is that other museums, even small and mid-sized, can use our process to have the same effect in their own institution.


Allison Nicks, Registrar, Delaware Museum of Art

Publishing Collection Records Online: FlexFields for Improved Workflow, and Using Data to Determine Priorities.

The Saint Louis Art Museum is home to an encyclopedic collection of over 34,000 works of art, with seven curatorial departments, a robust team of registrars, and a newly-formed digital assets department. With a digital strategy in place and a new website in development, SLAM seeks to provide greater online collections access while maintaining standards control. To promote better communication across multiple departments and more efficiently make records available online, we have identified ‘power users’, implemented digital signoffs in the form of Flex Fields, and created TMS Alerts for both workflow and data-quality control. With the new Flex Fields and a few SQL queries, we are able to use basic data analysis tools to evaluate high-priority areas and monitor progress over time. As staff grow more comfortable with this system, we are identifying additional areas in which similar methods may be used to both streamline processes already in place, and provide data for future analysis.


Carol Clark, Collections Database Administrator, Saint Louis Art Museum 

How to Move 45,000 Objects in Less than a Year

In an effort to standardize and streamline the process of moving over 45,000 objects out of the Eskenazi Museum of Art for a renovation, we utilized various aspects of TMS. Our presentation would cover the use of the barcode manager, the crate/container function, as well as several reports that allowed us to complete our move in less than four months. This presentation will be led by Kelli Thomas, Emma Fulce, and Heather Hales.


Kelli Thomas, Collections Specialist, Eskenazi Museum of Art, Indiana University

Heather Hales, Associate Registrar, Eskenazi Museum of Art, Indiana University

Emma Fulce, Collections Specialist, Eskenazi Museum of Art, Indiana University

TMS: Meeting the Demands of a Global Brand

The adidas Archive based in Herzogenaurach, Germany, preserves the history of the well-known sports brand, its products and linked individuals. Over 80 000 objects and documents from over 90 years are an unbelievable resource for inspiration and information. Since 2013 eMuseum helps to guarantee 24/7 access to this rich collection for the 60 000 employees world-wide. The archive team researches information and puts it into historical context – objects, information and media joined into rich archive content. Together with Gallery Systems the adidas archive team developed a strategy how to keep and maintain this content in TMS and how to share inspiring stories in eMuseum. The session focuses on ideas behind this project, the approach and go live of archive stories and the analysis with help of Piwik. Presenter: Susen Friedrich


Susen Friedrich, Senior Manager History Management, adidas AG

Ten Great Ideas for Improving Your TMS Documentation

Manuals, guidelines, outlines, workflows, style sheets, instruction sheets, cheatsheets, training documents – they’re all necessary to the TMS users in our organizations, and to us as database administrators. Writing and updating end user documentation appears in all of our job descriptions, but we hate doing it and, let’s face it, most of us don’t feel we’re very good at it. How can we present information better, organize it better, explain it better, show it better, make it more accessible, and make it easier for our colleagues, interns, and volunteers to use TMS, and to adhere to the standards we’ve set for them? At this session, you’ll learn how software documentation specialists, and your fellow TMS administrators, are approaching these problems, and walk away with ten (at least!) practical tips and tricks for improving your own TMS documentation.


Fatima Mahdi, Collections Information Specialist, Virginia Museum of Fine Arts

The Bicycle (Museum) Thief: How Stolen Collection Objects Brought a Reevaluation of Data Capture at the Bicycle Museum of America

Julie Ahlers and Micayla Gray, of Crown Equipment Corporation and the Bicycle Museum of America respectively, explore the ways in which they utilize TMS to capture data for a multitude of objects and to manage their interconnected corporate and museum collections. Following a break-in and resulting theft in May of 2018 at the Bicycle Museum of America, they describe how they have come together to improve overall data quality, achieved a greater degree of specificity and consistency across their collection body as a whole, and have worked to optimize workflow processes for a small staff responsible for a diverse array of TMS tasks.


Julie Ahlers, Sr. Executive Assistant to Chairman-CEO, Crown Equipment Corporation

Micayla Gray, Museum Coordinator, Bicycle Museum of America

TMS 2019 New Features

Danielle Uchitelle reveals TMS 2019’s most compelling features and developments ahead of the new release.


Danielle Uchitelle, Gallery Systems

eMuseum 6

The much anticipated eMuseum 6 is here, and we’re proud of its trajectory. In this session, eMuseum team, Alex Hoffman and Oliver Hanraths, share some of eMuseum 6’s exciting enhancements, and the role you, the users, have played in shaping its direction.


Alex Hoffman, Gallery Systems

Oliver Hanraths, Gallery Systems

TMS Media Studio: Media Management/Collections Management—A Symbiosis

TMS Media Studio facilitates media management and media access, both as a specific focus and within the context of overlapping museum activities, particularly collections management. This session looks at how Media Studio is being developed to facilitate workflows that require collaboration between people in with different roles, such as copyright management, media in the context of exhibition and loans management, and photo orders.


Karen Waldemar, Gallery Systems

TMS Collections

TMS Collections is the new web based version of TMS. It takes TMS online in a user-friendly format. Product Champion Karen Waldemar will share TMS Collections’ evolution over the past year and address common questions.


Karen Waldemar, Gallery Systems

TMS Collections: Workflow and Customization

During this deep dive, Karen Waldemar demystifies configuring TMS Suite web apps (including TMS Media Studio and TMS Conservation Studio) to provide powerful workflows and user experiences. This session will focus on the possibilities for shaping cross-department workflows and custom display screens for user roles.


Karen Waldemar, Gallery Systems

TMS Conservation Studio: Conservation in the Collections Management Context

Until the introduction of TMS Conservation Studio, it was difficult to integrate conservation documentation into the collections management workflows supported by TMS. Now features are available for collaborative workflows, such as exhibition and loan management, with configuration flexibility to handle the disparate needs of different conservation specialties and activities. Join this session to explore how pulling conservation material into a transparent, searchable database, shared with the TMS application, can help you and your colleagues work together.


Karen Waldemar, Gallery Systems

Gallery Systems Update

CEO Jay Hoffman and team will share key highlights of the past year, as well as a take a look at the roadmap ahead.


Jay Hoffman, Gallery Systems

Ask Gallery Systems

Always a crowd favorite, ASK GS is the session where you can ask the Gallery Systems team anything. Submit your questions anonymously throughout the conference, or be bold and grab a mic during this lively Q & A.


Gallery Systems

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