British Museum blog

5 digital megatrends towards the Museum of the Future

Chris Michaels, Head of Digital Media and Publishing, British Museum

There is no end of digital fads that might make a significant impact on the British Museum. Every time I open LinkedIn, or read a blog, there’s something new, or seeming-new, waiting to be tried. It’s fun.

But what really matters? What are the things that take our mission of being the museum of and for the world, and reveal an entirely new dimension to that great Enlightenment aim; that find a new way to make it real?

That’s a harder question, but it’s the strategically critical one that we will try and answer in the months and years ahead.

Today’s second debate in the Museum of the Future series, Changing public dialogues with museum collections in the digital age, is a crucial staging post in the process of us starting to talk about what digital means.

In advance of that, here are 5 themes – or megatrends, to give them their grander title – that might help shape our future. Big ideas all of them, but what better place than the British Museum to talk about the value of big ideas?

  1. The next billion comes online

  2. If we want to be the Museum of and for the World, then being able to tell the story of the history of mankind to all mankind is a conceptually critical moment in our long history. Over the period to 2020, 1 billion new people are forecast to come online for the first time, predominantly through mobile-based Internet connections. In an increasingly digital-dependent economy, that runs consequent with a similar number of people’s emergence into the global middle class, marked by an income of $5000 per year. Is this our new, next audience? As these people connect for the first time, how do we tell them stories of their histories in ways that are most meaningful?

    Watch Ericsson CEO Hans Vestberg talk about the next billion and what it means here:


  3. HS2 makes the world get smaller

  4. All around the world, from London to China to Russia and Spain, incredible investments are being made in high-speed rail networks that will make tourism – the largest driver of our visitorship – a whole lot easier. There are many complex arguments around the social, economic and environmental impacts of major new rail networks, but whatever happens, it will make getting to the British Museum quicker and cheaper for hundreds of millions of people round the world. We will need to be ready for that. Explore the HS2 proposals for UK railways here.

  5. This place is alive! The rise of smart cities and buildings

  6. As the Internet gets built into everything, and as the power and potential of the data that creates gets unlocked, we will have to change the way we manage the connections between people and things. The buildings we live and work in will become smart. The British Museum is a very, very big building, and making it smart might do anything from saving huge amounts on our energy bills, to managing the flow of visitors that creates overcrowding around the Mummies, the Rosetta Stone and (yes) the toilets. Read abut smart cities here.

  7. Machines anticipate us and speak in our language

  8. Asking Google, or talking to Siri, are already astonishing experiences – there’s a complex existential pleasure in speaking to a machine, and the machine getting it. The quality of natural language processing and machine learning will accelerate in the period to 2020, and their capabilities will start to move from reactive (‘you ask them’) to predictive (‘they know what you need’). That may alter the way we use the Internet forever – making the voice, not text, the first choice for finding what we need. For a Museum, that’s an exciting moment, helping visitors to help themselves. Is Siri the most important Visitor Services team member we haven’t hired yet?

  9. Media markets reach the tipping point

  10. Museums are complex media organisations, involved in book publishing, television, cinema, radio and more. Just this month the Museum has launched Germany: memories of a nation) with BBC Radio 4, while awaiting Night at the Museum 3: Secret of the Tomb from Fox in December. As we intersect with all these markets, we have to recognise one thing: digital is the driver of change in all of them. PwC’s market forecasts suggest that digital market revenues will grow at 11.9% compound annual growth rate in the years to 2017, by which time digital will account for 45% of all media revenues. Contrast that to TV and cinema, growing at 3.6%, and with streaming revenues expected to become primary in three years time. There is much to consider here, many complex implications. But whatever the answers, in this as in so much else, one truth is simple: the internet is changing who we are and what we do, and the Museum must change with it.

    Changing public dialogues with museum collections in the digital age (Thursday 16 October, BP Lecture Theatre, 18.30–21.00) is the second in a series of debates as part of Museum of the future, in which we are discussing big questions about the Museum’s future. The event is fully booked, but an audio recording and video highlights will be available following the event. You can also follow @britishmuseum and #MuseumOfTheFuture for live-tweeting of the event.

    Visit our Tumblr to get an introduction to the debate and the Museum’s history.

    Filed under: Museum of the Future, , , , , ,

What I want from the British Museum

Bonnie Greer OBE, playwright, novelist and critic, former British Museum Trustee

I wrote in my recently published memoir A Parallel Life, about my first encounter with the British Museum. My dad worked in a factory at night making tin cans and during the day he read. One of the things he read voraciously was the Encyclopaedia Britannica, and it is in its pages that I first saw the Parthenon Marbles, the Rosetta Stone, and the British Museum – the edifice – itself, very feminine and welcome, Muse-like to me. Decades later, after I had moved to London from New York, I was given a Reader’s Card, a pass which enabled me to take books out of the British Library, then housed in the Museum. I can’t tell you the fear and the excitement I felt going through those faux-Grecian pillars for the first time, me – a kid from the Southside of Chicago – here, for free, with no restrictions on what I could see.

And feel.

The British Museum

The British Museum

I came to see, after eight years on the Board here – four of them as Deputy Chair – that every museum, large or small, is an ecosystem. It is the objects; the physical building itself; the curators, other staff and visitors. And then it is the things that cannot be seen: the scholarship; the energy of everyone involved; the connections with the museum’s various communities.

And the Point.

Every museum has a Point. All of the modernisation, the furbelows, bells and whistles must never obscure the Point. And this is held – in a delicate balance – with the Board and the Director and his/her team. The Point, to me – at this moment in what we call the West – is simply to justify the West itself. We take this for granted because the West has been ruler for so long, so long in control, in charge. But this will not be the case in the rapidly approaching future.

Marble relief (Block XLIV) from the North frieze of the Parthenon. The frieze shows the procession of the Panathenaic festival, the commemoration of the birthday of the goddess Athena. 1816,0610.43

Marble relief (Block XLIV) from the North frieze of the Parthenon. The frieze shows the procession of the Panathenaic festival, the commemoration of the birthday of the goddess Athena. 1816,0610.43

We must ourselves understand the West: individual freedom; the free flow of ideas; the equality of men and women, ethnicities, abilities and sexualities. The modern Agora. Freedom of religion and speech and thought… and the freedom to roam, which to my mind, is peculiarly British and apt in relation to the time that the Museum came to be, the Age of Enlightenment.

In the 21st century the Age of Enlightenment also means digitisation – not simply the ‘wiring’ of the Museum, but an understanding of what a digital edifice is, that it exists not just on screen or increasingly in digital ‘wearables’. A digital Museum understands the concept of the ‘Internet of Everything’, in which every object – even the space itself – can interact with the visitor.

Be the Visitor.

The concept of being a ‘visitor’ itself will become a multi-faceted experience, increasingly one that will not just be in situ.

But everywhere.

The Museum must face Everywhere.

We must not only know what our values are, but the Museum becomes the very demonstration of them. All nations and peoples are welcomed in the spirit of Enlightenment and the Museum must have neither fear nor favour in doing this. The agora of itself therefore extends out, encompassing, fearless. Free.

A group of children using a tablet in a Museum gallery

A group using a tablet in one of the Museum’s galleries

And now, we are in a time when this can actually happen – digitally – and museums must acknowledge this, and to some extent enter into a new partnership. Because the Visitor, the Engager, will also take a more and more active part in creating the Museum of the future.

There has to be space for this to happen.

I also don’t think that ethnicity will play a large part in the scheme of things in 50 to 100 years’ time. There will be little or no such thing as ‘ethnic diversity’. In the West we are blending, becoming new people and so the Museum will become a kind of staging post and also a way-station, in which objects, ideas and experience will document the movement toward this cohesion and perhaps point toward possible futures.

Before I first entered the British Museum, I had dreamed about it, refashioned it to fit me.

Door panels and lintel  from the palace of the Ogoga (king) of Ikere in Nigeria. They depict the arrival of a British administrator in the Ogoga’s palace around 1899-1901. Af1924,-.135.a-b

Door panels and lintel from the palace of the Ogoga (king) of Ikere in Nigeria. They depict the arrival of a British administrator in the Ogoga’s palace around 1899-1901. Af1924,-.135.a-b

This can only happen if the Museum continues to make itself an equal and never allows class or other banalities to get in the way of its mission. And is vigilant about this. Strong and determined.

I have a friend who told me that, when she was a young girl, she used to pass through the British Museum with her eyes closed, on her way to the Library. For her, the Museum, all Western museums, are storehouses of old, sentimental and in the case of the British Museum, colonial and imperial loot. She couldn’t look because there were things inside that belonged to her. I’ve grown to understand the enormous value of global collections, but we must all know why they hold objects that do not ‘belong to us’. This is not only an intellectual explanation, but an emotional one.

Museums must make their Boards younger, swifter, more diverse, able to react to change. The British Museum has made good steps in this area already, but nobody can be complacent; change and turmoil will be the ‘terrible twos’ of the 21st century, and our children, too, if we see them in a positive way. Every day the 21st-century museum must be rebuilt anew. The point of it all has to be revisited, refreshed constantly. In simplicity, precision and elegance.

The Sutton Hoo helmet. Tin, iron, copper alloy, silver, gold, garnet. Early Anglo-Saxon, early 7th century. Found in the Sutton Hoo Ship-burial Mound: 1, Suffolk, England. 1939,1010.93

The Sutton Hoo helmet. Tin, iron, copper alloy, silver, gold, garnet. Early Anglo-Saxon, early 7th century. Found in the Sutton Hoo Ship-burial Mound: 1, Suffolk, England. 1939,1010.93

Sitting next to my dad back then, poring over those heavy encyclopaedias, we read the stories attached to the objects and we saw, within ourselves, the lands and the times and the people. The British Museum belonged to us then. And yet, it belonged to itself, too. The coming together of these two ideas: The Visitor and the Museum, their conjunction, projection and protection, is what the British Museum in the 21st century has to be about.

Bonnie Greer is on the panel for A living building: how could the British Museum best deliver its constant purpose for a changing public?, on Thursday 11 September, 18.30–20.30. This is the first in a series of debates as part of Museum of the future, in which we are discussing big questions about the Museum’s future. Visit our Tumblr to get an introduction to the debate and the Museum’s history.

Bonnie Greer’s memoir A Parallel Life is published by Arcadia Books.

Filed under: Museum of the Future, Uncategorized, , , , ,

The British Museum guide 2069

‘Saxo Japonicus’, curator, British Museum (writing in 1969)

In the year that Neil Armstrong became the first man to walk on the moon, the Boeing 747 made its first flight and The Beatles released Abbey Road, a British Museum curator (using the pseudonym Saxo Japonicus) wrote an article in Colonnade, the staff magazine, about what he thought the British Museum would be like 100 years from then – in 2069. Below are some highlights.

Cover of Colonnade, staff magazine of the British Museum, Spring 1969 edition.

Cover of Colonnade, staff magazine of the British Museum, Spring 1969 edition.

‘Your Trustees are pleased to welcome you to the world-renowned British Museum, the friendly Museum of the Future as we like you to think of us. We wonder if you are one of the many who have delayed getting our stamp on your Certificate of Culture because you thought we were stuffy and formal? Not a bit of it. As you step out of the lift of the 100-storey Forecourt Heliport (from which on a clear day you can see the strikingly shaped tower of Birmingham Suburb Comprehensive) you will be faced with a colonnade painted in a gentle pastel pink especially selected by our psychiatric adviser to make you feel at home. Inside the door computer-composed light music will release all your preresistance and tensions, and there you will be greeted personally by the British Museum Greeting Keeper of the week who will tell you just how pleased we Trustees are to have the honour of your company. The rota of the weekly Greeting Keepers can be had by post from the Publications Building (see later), so you can choose whom you wish to meet, from a Palaeolithic flint expert to an authority on mid-20th-century plastic teaspoons or even one of the bibliographer of probable and possible books. There may be a little wait while your queue reaches him, but this is a privilege we cannot let you miss. The Greeting Keeper will be most happy to shake your hand. Indeed, if he doesn’t shake the hands of at least 2000 of you honest, average people during his week’s duty we consider it just a tiny bit naughty of him!

Original article in Colonnade

Original article in Colonnade

Perhaps, too, you have been misled into thinking that the British Museum is concerned with history and the past? [NB The Trustees of the British Museum are specially licensed to use the words ‘history’ and ‘past’ in terms other than those of denunciation as being fit persons to use them for educational and non-corruptive purposes.] We must admit that after the Re-Education Act of ten years ago, with its much praised clause ‘Towards the suppression of the past’, it seemed to many of us that the only public spirited thing to do was to scrap the whole collection and turn the buildings over to more humanitarian ends such as temporary accommodation for the under-integrated. But the Public Re-educator would not hear of it. He said, to our great pride, that the 37,000-strong British Museum staff were too highly trained to be used anywhere else in the public sector and it would be a pity if their rarefied skills could not continue to be used in the service of progress. He pointed out that since every development in the past had once been in the future to somebody, an since all change, as everyone knows, is improvement, so every culture and period in history justifies the superior one which succeeded it, and thus proves at every stage the inevitable rightness of progress (how obvious it all seems now!)

We have been happy and obliged to rearrange the British Museum on these doctrinally sound lines. The main exhibition runs in a circle round the ground floor, and you will be taken round it in your chair on a continuous moving band at 3kph. We regret that you must be strapped in for the trip. This is for your own safety, for owing to shortage of staff we could not guarantee to recover you if you fell from the band into the pit below it. This is overrun with a population of picturesquely savage cats estimated to have increased to several thousand since they were declared a Protected Cultural Property in 2047. The exhibition begins with the Old Stone Age, seen from the point of view of a visionary technologist of the Old Stone Age. His recreated thoughts are broadcast over your headphones. And so it goes on right up to the present day, which is described in a concluding 15-minute recorded lecture called ‘The Present: Prelude to the Future’. We hope in this way to educate your historical imagination.

The theme of every one of our labels (they are in six-feet-high neon lettering easily read at 3kph) is improvement. We show clearly and graphically just how the artifacts of each age were an improvement on those preceding. Take those plastic spoons again. You can see how the design of English spoons steadily improved from clumsy Medieval ones with their awkward bowls and narrow handles, through the more technologically advanced but far too fussy and ornate silverware of the 18th century, to the beautifully stark and almost practical white plastic spoons of the late 20th century (some from excavations of the BM Canteen of that period), and then to our own dry-ice disposables, which just melt into the air during use. Finally we try to project the future and the possibility, or rather certainty, of the non-spoon, the spoon perhaps which could be created in the user’s mind by taking a hallucinatory pill.

There are a number of special and temporary exhibitions. In the North Entrance, there is a selection of ‘The Ten Most Famous Objects of the British Museum’ arranged with the convenience of the One Day World Tour Company in mind. The objects are displayed in a large circle so that they can be seen from the glass dome of the ODWTC thermonuclear craft when it has descended through the hinged roof for its 5-minute stop. Other visitors can see the objects at the same time from the outer perimeter. Protective suits and masks are available at a moderate fee. The objects are of course plastic reproductions made by our laboratories. Thus do we prove to the world that modern technology can surpass anything done in the past, for our models not only reproduce every detail but also do not deteriorate in the tiresome way the originals did after only a few years of thermonuclear exhaust and vibration….

…Your stay in the BM will not be complete without a visit to the publicateria, where food and coffee machines are tastefully and imaginatively alternated with the automatic vendors of publications, postcards and replicas. The publicateria used to be deep underground until the regrettable affair of the Great Fleet Flood (you must not miss the exciting memorial in fibre-glass which stands over the spot where the passages were sealed off) but it has now been moved to a huge transparent plastic platform fitted across the dome of the Reading Room. This not only uses valuable space, but allows you, while having your repast, to look down on the wonderful scene of scholarly activity below you. Powerful binoculars can be hired so that you can actually read what the researchers are writing in their notebooks. Thus you too can stand on the threshold of new knowledge! Down there in the Reading Room, the Research Students of this country and the USA in their tens of thousands work intensively through their two-hour shifts. It is no longer possible, because of lack of space, to allow students to read for more than two hours a day, but the extension to 24-hour opening admits twelve shifts a day. Through the floor you can also see the amusing scenes when a Student’s two-hour meter runs out, lets out a loud alarm bell, and sets off a mechanism which propels him automatically out of the door if he has not left within 60 seconds.

You, of course, will be equipped with a similar 60-minute meter. Our popularity has led naturally to this measure. So don’t spend too long reading this, but get on with your visit. And the best of luck to you!’

We are discussing big questions about the Museum’s future in a series of three monthly debates in September to December 2014, and online. You can book your place at one of the debates now, and we’ll be inviting you to share your views online in September. In the meantime, visit our Tumblr to get an introduction to the debate and the Museum’s history.

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Here @edoardofanfani captures the youthful look and friendly expression of this statue of Amenhotep III. The colossal limestone statue originally stood with hundreds of others in the temple of Amenhotep III, which was on the west bank of the River Nile near the ancient city of Thebes. 
Statues depicting the pharaoh often show him with his eyes appearing to look down on the viewer, and a slight smile emerging from his lips. He is wearing heavy makeup, with sweeping eyeliner that nearly touches the temples, and stylised eyebrows. Share your photos with us using #myBritishMuseum 
#AncientEgypt #Sculpture #Statue #Pharaoh #Egypt #eyebrowsonfleek This great photo by @comertcomi shows one of ancient Egypt’s most highly respected animals. Cats were associated with the goddess Bastet and she is often represented as a domestic cat. This statue is a particularly fine example, with gold rings and silver decoration. The collar also contains a silver wedjat-eye and sun-disk which are protective symbols. It also has a scarab on its head – scarabs were associated with rebirth in ancient Egypt. The eyes were perhaps originally inlaid with glass or stones. 
Share your photos with us using #myBritishMuseum
#AncientEgypt #Sculpture #Statue #Cat #Egypt #🐱 #catsofinstagram #regram #repost This week we’re focusing on Egyptian statues and sculpture at the Museum. This great shot by @sisterofpopculture shows the majestic statue of Ramesses II. Made of pink and grey granite, the sculptor has skilfully used the natural colours in the stone to suggest the difference between the face and body. 
This colossal statue was originally part of a pair that stood outside the Ramesseum (the pharaoh’s huge memorial temple). He is also known as ‘Ramesses the Great’ – he ruled for 66 years and his influence reached to the furthest corners of the realm. 
Share your photos with us using #myBritishMuseum
#AncientEgypt #Sculpture #Statue #Pharaoh #Egypt #regram Opening in March 2017, our #AmericanDream exhibition presents the Museum’s outstanding collection of modern and contemporary American prints for the first time. These will be shown with important works from museums and private collections around the world.

From Andy Warhol, Jasper Johns and Robert Rauschenberg to Ed Ruscha, Kara Walker and Julie Mehretu – all boldly experimented with printmaking.  With over 200 works by almost 70 artists, trace the creative momentum of a superpower across six decades. Click the link in our bio to book your tickets now! 
Edward Ruscha (b. 1937), Made in California. Colour lithograph, 1971. © Ed Ruscha. Reproduced by permission of the artist.
#print #printmaking #art #🇺🇸 Taking inspiration from the world around them – billboard advertising, politics, Hollywood, and household objects – American artists created highly original prints to rival their paintings and sculptures. #Printmaking brought their work to a much wider and more diverse audience.

Many of these works also address the deep divisions in society that continue to resonate with us today. This screenprint by Andy Warhol was commissioned by the Democratic Party for the 1972 presidential campaign. Instead of portraying the Democratic candidate McGovern, Warhol chose to represent his opponent Richard Nixon. He appropriated the image from the cover of Newsweek magazine, using the colours from Nixon's wife's outfit for his face, creating a demonic look.

See this new acquisition by the Museum, and many other extraordinary works in our #AmericanDream exhibition, opening March 2017. Click the link in our bio for more info.

Andy Warhol (1928-1987), Vote McGovern. Screenprint, 1972. © 2016 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York and DACS, London.
#art #Warhol #AndyWarhol #🇺🇸 #print #Democrats #politics America. Land of the free. Home of the brave...
We are delighted to announce our #AmericanDream exhibition – opening in March 2017!

The past six decades have been among the most dynamic and turbulent in US history, from JFK’s assassination, Apollo 11 and Vietnam to the AIDS crisis, racism and gender politics. Responding to the changing times, American artists produced prints unprecedented in their scale and ambition. 
Experience this extraordinary history in ‘The American Dream: pop to the present’. This major new exhibition is sponsored by Morgan Stanley and supported by the Terra Foundation for American art. Click the link in our bio to book your tickets now.

Jasper Johns (b. 1930), Flags I. Screenprint, 1973. Collection of Johanna and Leslie Garfield. © Jasper Johns/VAGA, New York/DACS, London 2016. © Tom Powel Imaging.
#🇺🇸 #art #JasperJohns #printmaking
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