Bethan Ruddock works as Content Development Officer for Library and Archival Services for Mimas at the University of Manchester.

Bethan has a strong interest in professional development and supporting new professionals.  She is a member of the SLA Europe board, and a Chartered member of CILIP.  She is editor of the LIS New Professionals’ Toolkit, to be published by Facet in 2012.

You can find Bethan on Twitter as @bethanar, where she tweets from conferences and events, takes part in professional discussions, and drinks a lot of tea.  She blogs at bethaninfoprof.wordpress.com, and you can email her at bethan.ruddock@manchester.ac.uk

What is Voices for the Library?

Voices for the Library is a place for anyone who loves and values libraries to share their experiences and stories about what libraries mean to them.  The campaign was set up in September 2010 by a group of information professionals who were concerned about the negative and inaccurate coverage of libraries in the media.

Voices started out as a way to provide accurate and impartial information about UK public libraries.  But not all of this information was to come from librarians!  The name ‘Voices for the Library’ was chosen carefully – we wanted it to be a place where anyone who cares about libraries can make their voices heard.  Much of our content comes from library users, who want to share their stories about how libraries have affected their lives.

There are stories from librarians as well.  Some are examples of the kind of work they do, to show the range and depth of what trained library staff do, and to illustrate that it’s not all stamping books and shushing!  And some are more theoretical debates, about the philosophy of public libraries.

Why do we use social media?

So, how did we gather these stories from users, these thoughtful pieces from librarians?

Through social media.  We’ve relied heavily on social media right from the start of the campaign – not just for dissemination, but for collaboration too.  We faced a number of challenges, for which social media was – not just the best, but often the only – solution.

Firstly, we’re geographically dispersed.  This means that meeting face-to-face has been basically out of the question.  We’d never all been in one room together until the campaign had been running for over 6 months. This means that everything that had been done in those 6 months – all the planning, work, collaboration etc, had been done purely virtually and remotely.

Our second challenge was that we have no budget, which meant our tools had to be free.  Thanks to some generous sponsors, we now do have a budget – but it’s very easy to find vital things to spend it on! This means that we have to carry on finding free solutions – and most of these come from social media.

The third challenge?  Time!  We have even less time than we have money.  The VftL team are all volunteers, doing what we can for the campaign in the time we have available.  This means that we quite simply don’t have the time to spend on a tool that doesn’t work, quickly and easily.  We need to be putting all of our effort into what we’re doing, not the tools we’re using to do it.  Of course, some things require more time than others – the website, for instance – so our key concept here is return for time spent.

The final challenge is that of trying to connect to a huge demographic. Public libraries in the UK are designed to serve the whole community, from babies to pensioners, and often the only thing they have in common is that they use libraries.

Social media is really the only way we currently have of being able to communicate with these disparate groups of people.

What social media do we use?

We do most of our communicating within the group by email, but there are a number of other tools we use.

Wiki – we use a wiki for most of our collaboration.  We chose PB works, who offer a free version for individuals/groups and education.  We didn’t quite fit under ‘education’, so went with the free ‘individual’ option, which offers all the functionality we require. We can:

• edit pages,
• keep track of who has made changes when,
• see the most recent changes in a list, or have them emailed to us
• have folders and a file structure
• upload files, so we can use it as a filestore

Pbwiki is quick and easy to learn to use.

We also briefly tried using google docs, but they just didn’t work for VftL.  We didn’t persist in trying to use them once we noticed they weren’t quite right for us, but just moved over completely to the wiki, where we’ve stayed happily ever since.

Chatzy: we may have only recently had our first face-to-face meeting, but we have had online meetings.  The tool we settled on for this was ‘chatzy’, an online service that allows you to create a private online chat room, and have text-based discussions.

Chatzy has been very effective – it shows everyone in a different colour, so you can instantly see who has said what, and it allows you to save the text of your discussion.  You need a premium account for the full save/download options, but you can get round this by simply selecting and copying the discussion before you leave the chat room.  This makes minuting meetings very easy.

Doodle: if we’re having meetings, we need to schedule them.  We use Doodle as a collaborative scheduler.  I like Doodle more than some of its rivals (such as meetomatic and when are you free) for a number of reasons:

• no login/signup required
• you can specify exact times – not just am/pm
• respondees can see the responses everyone else has entered.  This means that all respondents (not just the admin) can see when other people have said they’re available.
• You can also edit the times once you’ve opened the poll

To-do and tasks:  we were briefly using Task Bin as a group task management system – it allows you to invite other people to see your tasks, and to share tasks with people within a group.  However, our use of this never really got off the ground.  Nothing wrong with the software, I think it might just have been one thing too many for people to check.

These are our inward-facing uses of social media – what we use within the team.  But we also use social media for most of our external communication.

There are 3 main points of entry to our online presence, and each is important:  website, facebook, and twitter.

Website:  the website is built on the WordPress platform.  We use a wordpress.org installation – this is the self-hosted version, which means we have to pay for domain hosting, although the software itself is free. It is possible to have completely free wordpress.com site, by having it hosted on their servers.  This does limit your functionality, however, and we wanted slightly more control over the site than the totally free option allows.  As one of our members already runs several self-hosted wordpress sites, and was willing to extend his hosting package to cover VftL, we decided that this was a case where spending money was important.

And the website has been a success! We use Google analytics (again, a free tool) to track usage, and since we launched in September we’ve had over 32,000 unique visitors, with over 108,000 page views!  Most of these visits are from the UK, but we’ve had visits from 96 countries/territories in total, including Yemen, Iceland, Mexico, and Romania.

We get lots of comments on the website (we accept comments on almost all pages), and also have forums, which people can use for discussion.  They’re not getting much use, but they are getting some, and we feel the benefits of having made that space available outweigh the small time commitment required.

We already have some stories on the website that have come from feedback left for libraries, not directly to us – Weoley castle Library in Birmingham for instance have sent us comments from their comments book, and this is something we’d really like to encourage other libraries to do in the future.

We’ve also been very lucky in having a graphic designer to create our fab new logo.  This was designed by the cousin of one of our team members, which means we got it for free!

Facebook: the other main landing point for our online presence is Facebook.  Again, Facebook pages are free to create and maintain, though they do take quite a bit of time if you’re very active!  We now have 2615 likes (which used to be called ‘fans’), which is fantastic.

Facebook sits in the gap between the website and our twitter account. While there is a fair amount of cross-over in the content, Facebook gives us slightly more freedom for longer links and discussions than twitter, but is more news-y and less in-depth than the website.  It also gives users another choice about where they’d like to interact with us.

Twitter: twitter has a special place in the hearts of the Voices team.  VftL was conceived on twitter, by a group of info pros who, for the most part, had never met.  They knew each other only through twitter – that’s where the discussion and the idea started.

The twitter account was the very first thing made! That’s why it has a different name to everything else – UKpling.  This was intended to be the original name of the group, standing for ‘UK public libraries in need group’.  Discussion changed this to ‘Voices for the Library’, but the twitter account was already established, under a different name.

Now, it is possible to change your twitter name, and we have discussed doing so.  But all the ones we really wanted were taken, and we’d built up quite a twitter following – over 1500 followers – so we decided to stick with it.  It we were running the campaign all over again, one of the very first things we’d do would be to change the twitter name!

One of the things that twitter is great for is running quick and dirty viral campaigns.  This was illustrated recently when @mardixon (not a librarian, but a library user) tweeted “Libraries are important because … [fill in your answer & RT] #savelibraries”. The #savelibraries hashtag got over 5000 tweets, and was a trending topic not only in the UK, but worldwide.  As trending topics are usually breaking news, amusing memes, or celebrity gossip, this was quite an achievement!

Other tools:

Delicious:  we have a delicious account, and automatically add anything tagged with various tags (pling, voicesforthelibrary, etc).  These are then tweeted, added to the facebook account, and shown in a widget on the website.  This gives us a news feed about library news with a minimum of effort.

Flikr:  we have a flickr group, which is a nice visual way to represent the range of things that goes on libraries.  Anyone can add to it.

Paper.li – this is a twitter tool that gets a round-up of ‘top stories’ from your twitter stream, and presents them in a magazine format.  It’s a nice extra way of pointing people to things they might have missed.

To conclude?  Social media is fast, free and flexible, which is just what we need for a time- and resource-poor project!

Alexandra Eveleigh is an archivist with a background working mostly within the local authority sector. She has a long standing interest in the impact of digital technologies upon archives, and her PhD research at University College London seeks to evaluate the implications for professional theory and practice of user collaboration initiatives using Web2.0 tools.

She can be contacted via her blog Around the World in Eighty Gigabytes or follow her on Twitter.

Around the World in 80 Gigabytes

Web 2.0 is here to stay. This blog is as good evidence as any of the enthusiasm with which a whole variety of online tools designed to encourage audience participation are being adopted and adapted across the cultural heritage sector. In his recent book, Cognitive Surplus, Clay Shirky argues that increased experimentation is a defining feature of this brave, new technological world. But as public sector cuts begin to bite, there is a real need to begin to evaluate existing initiatives, to map current trends in the use of Web2.0 tools, and to find out what has worked and what hasn’t within our sector. Are some participatory models more successful than others, and why? What outcomes do Web2.0 projects aim to achieve, and how can these be measured? Are these kinds of initiatives sustainable – that is, are the results sufficient to warrant the effort that organisations put into the development and maintenance of such projects? For example, are wikis merely going out of fashion or are there specific structural constraints which make this particular model of online collaboration especially challenging to design and sustain in professionalized heritage contexts?

Advocates for the use of Web2.0 technologies in archives (and I’d be one of them) tend to make much of the opportunity to reach new and different audiences, to expose archive collections to the world, even to democratize the archive. But even if as professional archivists we aspire to a transformation of the civic function of archives in our use of Web2.0 tools, we cannot achieve this on our own. As Stuart Macdonald commented in his guest post about the AddressingHistory project, the success of these types of initiatives will “ultimately be measured by continual and extended use within the wider community”. Encouraging two-way engagement is not like the usual kind of organizational development project, in that there’s no fixed end point at project launch. Web2.0 experiments are easy to start up, but hard to pull the plug on, even if only a few people are contributing, without adversely affecting community trust in your organization and their willingness to participate in the future.

Old Weather project home page

My research is focused upon those initiatives which depend upon the skills or knowledge of members of the public to supplement or create new information about archival collections (as opposed to platforms like facebook which primarily enable passing comments or indications of approval on content submitted by archivists). This incorporates a wide spectrum of participant behavior from the small, atomized contributions required to take part in the Old Weather transcription of ships’ logs or to tag archival photographs on flickr commons, right through to the sustained effort and specialist knowledge needed to make a substantive contribution to The National Archives’ wiki Your Archives.

Flickr commons home page

Milkyway project homepage

Certain trends are already becoming evident within the (broadly defined) archives domain. 2010 was definitely the year of the transcription platform, as organisations seek to strike a happy balance between motivating participants to contribute and maintaining adequate organizational control over the content created. Some distinctions are also now becoming evident between different styles of project. Some aim to ‘crowdsource’ lots of small contributions from as many people as possible, yet the commitment required and connection established between each individual participant and the archives may only be fleeting. More community-focused initiatives, on the other hand, bear a close resemblance to traditional volunteering opportunities or outreach work, specifically aiming to capitalize on participants’ emotional attachment with the subject matter in hand. But this is a dynamic field, and sometimes its hard to keep up with all the new projects unveiled: I wonder what new ideas 2011 will bring?

About this Guest Post

Peter Brown is Information and Digital Citizenship Manager at Enfield Libraries. He can be contacted on: peter.brown@enfield.gov.uk

The London Libraries Consortium can be contacted via Madeline Barratt, Libraries Strategy & Performance Manager, Enfield Libraries: Madeline.Barratt@enfield.gov.uk or 0208 379 3784.

Revitalising information services

Since the introduction of the Public Libraries Act over 150 years ago, a lot of time, effort and money, have been invested in building large static collections of books that reflected the likely information needs of the populations they served. Traditionally the ‘Reference Library’ – often on the first floor of the older Carnegie or Passmore Edwards buildings – represented the inner sanctum of reserve, and specialisation for the ‘serious’ customer in search of enlightenment (or an undisturbed snooze).

Publishing costs today have pushed series, annual reference volumes and special interest books to stratospheric prices. Publication, processing and shelving of these materials has made the process seemingly lethargic in comparison with instant internet access. The means of production is changing rapidly, likewise that of delivery and we need to get in front of this or be mown down and left for dead!

Despite the pitfalls of the web for the unwary, customers have changed their habits, they are busier people and their hunting grounds have expanded exponentially. Unless librarians radically adjust by seizing the moment, and become knowledgeable mentors to what is out there and how best to harness its information potential, we will be entombed in the stacks along with complete files of Wisden, Whitaker’s Almanac – and Keesing’s Contemporary Archives!

With all library authority budgets under pressure it is inevitable that services will be subject to scrutiny. In London some authorities are currently spending up to £150k on materials and a further £210K on staffing annually to maintain their Reference or Information Services. It will not be feasible for authorities to keep hard copy, online and periodical reference resources with budgets facing considerable reductions over the next four years. Trying to keep all three strands going on reduced means is neither conducive to an efficient service nor to the majority of our customers. Libraries throughout the world should be leading by example by setting standards that will be the admiration of the polity.

At Enfield Libraries we are spearheading the London Libraries Consortium workstream on digital resources and believe libraries must grasp the digital revolution and be purveyors of accurate and up-to-date information. Online legal resources, for example, are constantly refreshed and updated and can offer more information than the hard copy resources we used to purchase.

Some authorities are reportedly considering cancelling online resources due to lack of use, adding that customers are quite happy using Google and Wikepedia. This is a worrying development because not only do they not add value to library services they are also of little help to school children or any other customer lost in the information wood.

In order to get more accurate data on our use of these resources, we recently carried out a review of our own services and the lessons from this are now being shared with the 13 other members of the consortium (Barking & Dagenham, Brent, Ealing, Hackney, Havering, Kingston Upon Thames, Lewisham, Newham, Redbridge, Richmond, Tower Hamlets, Waltham Forest and Wandsworth).

Whilst there are visitors who prefer to come into the reference library and use the dwindling hard copy resources, in general customers are increasingly web savvy and becoming increasingly used to accessing information from PCs or mobile devices such as iPads. Evidence suggests that a similar split exists among library staff – so staff need very specific training so that they can be effective catalysts to assist the cross over. This always-on culture helps to drive staff and customers to our online reference resources. Since the radical change in our information services from mostly hard copy to mostly digital, we have had only a handful of formal complaints – the majority about requesting better access to digital resources – particularly access to LexisNexis from home.

As a result in Enfield we have increased usage of our online reference resources by over 300 percent and saved £40k per annum. We are confident that our colleagues in the consortium will achieve similar gains. To achieve a successful progression to mostly online reference resources, library staff must clearly understand the context of the shift of information away from a centralised model (i.e. from reference librarians based in reference libraries) to branch-based delivery from all PCs by all staff and be confident in using and promoting these resources.

Online safety poster

Training and marketing

The Information and Digital Citizenship Team (Paolo Zanelli and I) carried out a comprehensive 12-month training programme for our staff focusing on: homework help; business and legal; newspapers and periodicals; local and community information. We follow up these sessions with mystery shopping exercises to test the effectiveness of the training – and we no longer have ‘Reference Librarians’. Library Senior Management teams must show considerable leadership by example by engaging in being trained if not be part of the actual training team itself. As previously mentioned we had to overcome the general view that library staff are au fait with searching digital resources. Mystery shopping had demonstrated ‘books’ as first port of call even for the birth date of Richard Branson prior to training.

Whilst it’s true that most are familiar with sites such as Google, Amazon and Facebook, training was required in skills suitable to a public library setting providing information that would previously only have been expected in a library with ‘Reference Library’. We then trained our staff intensively for 12 months using the 4 modules (homework help, business and legal, etc). This exercise enabled us to identify a handful of staff that were clearly struggling with the modules due to additional needs, such as basic PC operations, file management, Word, so further training was devised to meet these needs. The Information and Digital Citizenship team combined this with a marketing programme of posters around the library, shelf markers pointing visitors to online resources, bookends, individual emails to all driving instructors in Enfield about Driving Theory Test Pro, and bookmarks.

Safety first guidelines

Some of the schools in the area have staff, and not always their librarians, who value what we do. They work closely with us and to encourage pupils to use our high quality digital resources. This was a consequence of a marketing campaign aimed at all secondary schools in the authority. As part of the schools campaign we requested a link to the library services on the schools’ Managed Learning Environment, designed posters and drop down leaflets aimed at homework resources. We also use the digital mediums of Facebook (Enfield Library and Museum Service) and Twitter (@enfieldlibrary) to reach visitors. As a result of these initiatives we saw performance of our range of digital resources more than triple.

Most popular resources

Although the subscription covers access from only two libraries in Enfield, Ancestry.com is one of our most popular resources with around 20,000 hits over the last 9 months. The more hits we have the greater the value because it is more cost effective; the projected annual individual search cost for Ancestry.com is £0.10. It is also a well known brand thanks to television, online and print advertising of the service. Family history researchers also use FindMyPast, available in our family history library. The latter now includes the 1911 census, making the data even more useful to researchers.  We have recently added Nineteenth Century Newspapers to our resources, available via the internet with a library card. This is the British Library’s full run of influential national and regional newspapers representing different political and cultural segments of the 19th century British society. This has proved very popular in other library authorities and we feel will be a good complement to Ancestry.com and FindMyPast.

Our other most used digital resources are Britannica (over 15,000 hits over 9 months, £0.17 per individual search and widely used by schoolchildren) and Driving Test Pro (over 6,000 tests taken over the last 9 months, £0.06 for each individual test completed). Another reason for increasing popularity is that these resources are far more accessible to multiple users and offer much more than text or the previously stocked CD-ROMs, as they tend to be very interactive and offer images, videos, audio and hyperlinks.

Future plans

We continue to review our resources and to work with suppliers to get performance data – we no longer subscribe to services which cannot provide us with this information. Single sign on will soon be established by the consortium, which will make it easier for customers to use digital resources. Joint purchasing of online resources is likely when we have completed our benchmarking exercise of LLC member authority usage and costs.

Ingrid Beazley is the strategic advisor to the Community Outreach Department and the E-learning project developer in the Education Department of Dulwich Picture Gallery. She can be contacted at i.beazley@dulwichpicturegallery.org.uk

The Story of a blog – Dulwich OnView

Dulwich Picture Gallery (DPG) is a small, purpose built art museum on the outskirts of London with a fabulous Baroque permanent collection. It’s England’s first public art gallery, founded 200 years ago exactly and is pretty well known. As might be expected the majority of regular visitors are middle aged/old, white, middle class and local. DPG has a large Friends organisation similarly made up. 3 years ago I was chair of the Friends. I also fit neatly into the description of the regular visitor.

Yes, I had made efforts to attract a different demographic to DPG. Through the Friends I had arranged events to attract younger people and families, but basically, as my children explained to me, no person in their 20s and 30s would have any interest in visiting this ‘old fashioned gallery with its stuffy pictures’.

Then I met a dynamic young woman, Yang May Ooi, at a local party who suggested using social media to reach younger people and explode this myth. I agreed and Dulwich OnView was born.

Dulwich OnView is not a museum blog like the ones you might find on museum websites, written by the museum staff. Dulwich OnView is an independent blog run by members of the local community on a voluntary basis. It has a large number of guest contributors who write about/take pictures of/make short films, podcasts about the local community as well as DPG.  About 2/3 of the posts are NOT about DPG.

So Dulwich OnView is of interest to people who wish to read about local history/events/people/pubs/parks/festivals etc. They might Google ‘Dulwich walks’ and up would come Dulwich OnView’s numerous articles on these. Then they would notice all the references to DPG and be lured to read those posts and follow the wealth of links to the DPG website. We have stats to prove that this happens.

Dulwich OnView minicard

Community interaction

For Dulwich Picture Gallery, Dulwich OnView complements its official website as, like all blogs, it is informal and interactive. Many of the DPG staff write for it, from the director, the marketing, education and curatorial staff, to the warders and interns. The Friends have the opportunity to put up lots of background information about the events that they run which is not appropriate for the main DPG website, and there are many local people who submit reviews of the special exhibitions or just descriptions of their favourite paintings. DPG links to many of these articles from their website. It is an opportunity for DPG to have conversations with the local community via the Dulwich OnView comment boxes.

In the same way as you are more likely to be persuaded to go to an exhibition by your friend in a conversation at the pub, than you might be by reading the marketing blurb on an official website written by a person paid to write it, so posts recommending DPG written by locals are more convincing than reading the official information on its website.

Being a section of a local community website enables DPG to be seen as part of the local community itself, and to show its human face.

Younger people tend to read blogs, and in the case of Dulwich OnView, to accept the invitation to contribute to it. Our youngest blogger is in primary school and we have teens and university students contributing too. We also have authors in their 80’s as increasingly, older people go online not only for information but interactively too. And they tell their friends about their article – perfect viral marketing.

Blog stats.

Dulwich OnView is just 3 years old and now gets about 20,000 hits a month. The referrers come from local organisations/businesses/charities that we have featured and who link to the article from their websites, from forums where we are mentioned and from the DPG website itself. We can tell from the search engine terms that people are not looking for DPG (e.g. ‘east Dulwich cinema’, ‘Ann Shelton’, ‘South London Youth Orchestra’) but that about 2/3rds of onward clicks are to pages on the DPG website.

National and International Recognition

I have talked at numerous national and international conferences from Montreal, Denver Colorado, Iceland (Nodem), Glasgow (Museums Association) and our own London (EVA and many others), and Dulwich OnView won the prestigious ‘Museums and the Web’ award in Denver last year for the ‘best small museum site’.

How is Dulwich OnView organised?

At its inception, the younger members of the committee of the Friends of DPG (and some others not on the committee) were excited about the idea and we formed a team of joint editors. We would take in turns to be editor on duty – to be responsible for having 6 new posts every week, for responding to all emails, for encouraging contributions, for moderating and answering comments etc. I then finished my term as chair and over the next year the committee members involved with Dulwich OnView left, to be replaced by people not interested in online social networking. (We had also set up a Flickr group, a Facebook page and Twitter).

Editorial team get together

Also at its inception, DPG was very nervous about Dulwich OnView. It had no control over the articles, could impose no regulations. Three years ago it was unusual for organisations to have blogs. It took a while to persuade them to mention DOV in the Friends area of their website and to link to us. They had to take us on trust. And in the end they did. All credit to them, and all credit to us for creating a successful website.

Evolution

Recently the burden of running Dulwich OnView has been on just a couple of people, making the task of maintaining the volume and quality of the articles extremely onerous. I had continued my involvement after leaving the committee, but at the end of last year I had an opportunity to change direction which I wanted to take. It was crisis time. How much did DPG value Dulwich OnView? Would they allow it to die?

No; over the years DPG had come to realise the importance of Dulwich OnView as a modern marketing tool, in particular for younger people, and were prepared to employ 3 part time people to run it. They have agreed that it maintains its independence, which, after all, it its USP, and does not become just another institutional blog.

The DPG route from original shock-horror to creating a mini community outreach department to run Dulwich OnView has been rutted and long. It is with immense pride that myself, Yang May and all the original founders of Dulwich OnView deliver this unique and popular website into the hands of Dulwich Picture Gallery with the full blessing of its Director and Trustees.

Eddie Byrne is a Senior Librarian with Dublin City Public Libraries, Dublin, Ireland, and Head of the Libraries’ Web Services Unit. In the public library service since 1980, his experiences extend to website development, content management systems, open source software, web accessibility, cataloguing, metadata, thesaurus construction, and of course Web 2.0. He can be contacted at edward.byrne@dublincity.ie

Netvibes for Centralised Management of the Internet Desktop

Dublin City Public Libraries is the largest public library authority in the Republic of Ireland, serving a population in excess of half a million. Free public Internet access is available on over 100 Internet computers in 21 locations across the city, and in 2009 alone there were over 380,000 Internet sessions. Free wi-fi is also available.

Due to the number of locations and PCs, computer and desktop management has always proved a challenge. It had long been apparent that a solution was needed that would in the first instance provide library Internet users with a useful and well presented Internet desktop, while at the same time ease the task of desktop management. Prior to the introduction of the Internet start page solution, the practice had been, as and when required, to highlight select websites by placing Internet shortcuts on an already cluttered computer desktop, adding website addresses to a browser’s list of favourites, while also having to edit existing links as and when necessary. This process had then to be replicated on each of the over one hundred PCs in the many and diverse locations, a time and resource consuming task for the Libraries’ IT Unit. It was at the same time debatable as to whether or not these efforts were of any real benefit to the Internet user.

Our Solution

The obvious solution was a centrally managed and purposely designed default home page or ‘Internet desktop’, with changes applied in one location taking immediate effect across the whole network of Internet PCs. From a management perspective this would result in huge savings in terms of time and staff involvement. It also afforded the opportunity to some degree to monitor usage of the custom delivered desktop and as a consequence improve it as necessary.

Dublin City Libraries netvibes homepage

In late 2007, various solutions were looked at, including a number of web-based start page services. A web-based solution quickly became the front-runner in terms of cost, available time, and ease of delivery, tied in to available staff resources and expertise. Pageflakes, having been found to meet certain minimum requirements, was eventually selected and a custom-built Pageflakes page rolled out in early 2008 as the default entry point to the web on all public-access PCs. All this work was carried out internally, with no recourse to third-party developers or service providers, and consequently no third-party costs. Netvibes replaced Pageflakes in late 2008 consequent on issues experienced with Pageflakes, issues which highlighted the need to have a risk management plan in place.

The ‘Start Page’

The newly delivered Internet desktop, or ‘start page’, acted as a ‘portal’ or gateway, giving library users a single point of access to information and services on the web, while also presenting information from diverse sources in a unified manner. See http://www.netvibes.com/dublincitypubliclibraries/

Dublin City Library media zone page on netvibes

In terms of structure and substance, content is delivered by means of eight tabs, each tab representing a different category.  These are: – Home (default page), Find It!, News, European Press, Your Pleasure, Traffic & Travel, Mail & Tool Kit and Media Zone. Most of the tabs incorporate some library-related content (event and service promotions, announcements), the Home tab in particular having a particular library focus.

In terms of measuring usage, Google Analytics is used to collate statistical data, with a different script collecting data on each tab, thereby allowing analysis of use of each category of content.

The desktop is managed by the Libraries’ Web Team and management entails ongoing monitoring of the ‘Start Page’, checking for downtime, performance issues, widget failure, broken links, and carrying out periodic manual edits; the bulk of the content is generated dynamically via RSS feeds from the Libraries’ other web presences including its Twitter account and delicious bookmark site, as well as the astute use of the various widgets available to deliver diverse content.

In real terms, the management of the desktop can now be measured in terms of minutes per day, with additional time spent periodically carrying out a more extensive audit and analysis of use. Of greater note of course is the fact that the library service is now providing a value-added service for its users, one available not merely via the library-based Internet PCs but from any location where one can access the Internet.

Further Developments – Children’s Internet Computers

Dublin City Libraries Learning Zone on netvibes

Towards the end of 2009 work began on developing a separate purposely designed Internet desktop using the Netvibes platform for use on the dedicated children’s Internet computers in branch libraries. Because of the particular target audience, security concerns were paramount, and having to get the approval of the Libraries’ parent organisation (City Council) resulted in time delays and additional work in addressing concerns, real and imaginary. As a consequence, access on dedicated children’s computers is restricted to select sites, and as a risk minimisation effort it was decided to restrict the use of widgets on the resulting page to those built, maintained and hosted by Netvibes alone. This desktop is due for rollout in Autumn 2010.
See http://www.netvibes.com/dublincitypubliclibraries-learningzone#Home_Page

Future developments – Business Information Centre Internet Computers

As of late summer 2010, a purposely designed desktop is being investigated for use in the Business Information Centre, a specialist service housed in the main Central Library.

To Find Out More

The article author, Eddie Byrne, gave a presentation on the use of a start page service by a public library at the Internet Librarian International conference in London in October 2009, see the presentation at: http://www.slideshare.net/ebyrne41/using-a-personalised-start-page-service-to-deliver-a-public-library-portal

Colin Campbell is editor at the Riverside Museum Project, a £74 million development creating a new transport museum by the River Clyde in Glasgow, due to open spring 2011. He can be contacted at ColinJ.Campbell@glasgowlife.org.uk

Riverside Museum Blog

More than 10,000 people came to bid farewell to Glasgow’s Museum of Transport when it closed its doors for the very last time on Sunday 18th April 2010. While newspapers and magazines paid homage and TV stations ran nostalgic bulletins, people like you and me posted personal tributes on blogs, forums, in Facebook, Twitter and so on.

At the same time, the Riverside Museum Appeal – charged with raising £5million for the new transport museum – launched its public appeal, aided by figures including Robbie Coltrane and Carol Smillie.

Why Blog?

With the huge volume of interest, it was clear that this was the right time to create a blog about the Riverside Museum Project. Its aim was not just to inform interested members of the public; we also wanted a way to update our colleagues in Glasgow Museums and our parent organisation Glasgow Life as well as employees of Glasgow City Council and other partners.

Early posts focused on the work behind the scenes at the Museum of Transport. Photographs revealed subway cars under sheets of polythene, the hugely popular re-created 1930s street being demolished, objects such as the Royal Mail horse-drawn carriage being taken away. Project photographer Iona Shepherd’s excellent photography is a major feature of the site.

Subway cars (Photograph by Iona Shepherd, Copyright Glasgow City Council)

While the story of the removal of the museum’s objects made (and continues to make) some excellent news articles and photos, we also wanted posts from a curatorial and conservation point of view. Joining Iona were curator John Messner, conservator Rebecca Jackson and decant technician Lisa Brown. Rebecca’s before-and-after posts look at the conservation of objects ranging from shoes to ship models. John, meanwhile, has revealed the stories behind the objects. Their posts are complemented by Lisa who blogs about their removal. You’ll also find updates about the building’s construction, as well as posts from other departments, such as admin, whose massive archiving project was the focus of a recent blog.

Locomotive (Photograph by Iona Shepherd, Copyright Glasgow City Council)

Aims, Strategy and Design

As well as guidelines for publishing to WordPress we also created a strategy outlining our aims and hopes for the blog. We considered word length, tone, image size, resources, what content to share and what to hold back. Yes, we wanted to share the project’s behind-the-scenes news, but not at the expense of the Riverside Museum Appeal. In fact, rather than diverting attention from the appeal, the blog has supported it. Thanks to WordPress’s cross-publicising feature, each new blog post automatically creates a status update for the RMA’s Facebook and Twitter streams, bringing in readers from the appeal’s fanbase while at the same time adding to the richness of their own feeds. Though it’s impossible to accurately quantify the numbers – and the financial benefit – the appeal has seen the number of its Facebook and Twitter followers increase since we launched the blog.

How successful has it been?

It’s still early days, and there are teething problems. Issues with access and internet speed continue to dog us. Time is often in short supply, particularly as the demands of the project intensify in the run-up to opening. But we manage. There is plenty of excellent content, and most weeks we manage to publish between three and five posts, including the regular Picture of the Week.

Riverside Museum attracts a lot of comment online. Much of it is positive, but not all. Opinions range from excitement about the Zaha Hadid-designed building (her first major construction to be completed in the UK) to criticism of the decision to relocate Glasgow’s transport collection from Kelvin Hall. And as Riverside Museum moves towards its opening in spring 2011, the comments, status updates and posts will only increase. Thanks to our blog, the Riverside team now has a strong voice that can take part in the online dialogue.

Aerial view (Copyright BAM/Hawkeye)

Andrew Dawson is Project Assistant for the Connecting for the Future project based at The Potteries Museum & Art Gallery where he is responsible for helping with the general running of the CftF project, but particularly with the collection and storing of participating museums’ data, the running of The Potteries Museum’s e-newsletter and the maintenance of the project’s microsites & associated Twitter, Flickr, etc. presences. He can be contacted at andrew.dawson@stoke.gov.uk

Read Andrew’s first post on Connecting for the Future

RW388 and www.SpitfireRW388.org.uk

RW388 is a MkXVI clipped wing Spitfire given to the City of Stoke-on-Trent in 1972 by the RAF. It’s long been one of the most popular exhibits here at the Potteries Museum but due to being exhibited firstly in a sun-drenched and humid glasshouse (before it was brought into a special gallery in the Museum in 1986) a large block of renovation and restoration is needed to stabilise the aircraft in the long term. We decided to tackle this renovation issue by creating a microsite which would celebrate one of the City’s unique exhibits – especially important when its designer, R.J. Mitchell was born locally and was educated in the City – and help raise funds to go towards its eventual renovation.

The microsite, running on a WordPress Multi-Site install, has been designed from the beginning to be light on static content. The “Your Photos” page – where the general public can create their own gallery of RW388-related photographs – and the “Your Memories” page – where people can talk about their memories of RW388’s arrival and time in the City – are the cornerstones of the site, allowing us to capture, store and share what local people think of this unique exhibit which has been part of the City for almost 40 years.

“Your Photos”

The “Your Photos” page contains a gallery of RW388-related photographs created by using the Flickr Mini Gallery plugin and an RW388 Flickr tag. Any Flickr user can upload images of the City’s Spitfire, tag it with RW388 and it will automatically appear in the gallery – clicking on an image brings up a lightbox containing the image, the photo’s title and description and a link to the original Flickr page.

Flickr Image displayed in a Lightbox

It’s difficult to say why we chose to use Flickr for our gallery other than “because it’s Flickr” – there are so many reasons to use Flickr, from the excellent hosting and organisation tools to useful little additions such as the ability to add tags to other users’ photographs as well as your own. As The Potteries Museum was already signed up to Flickr we took the opportunity to upgrade to a Pro account – this costs $24.95 per year (around £16 at the current exchange rate) and allows a greater degree of flexibility with, amongst other things, unlimited uploads and storage. To see a more exhaustive list of the benefits of “going Pro” check out What do I get with a Pro Account? on Flickr’s FAQ.

The option to create a gallery from photographs pulled from a Facebook Group also exists thanks to a plugin called Facebook Photo Fetcher. However, as this would have involved creating and monitoring a Spitfire RW388 Facebook Group on top of all the other work to prepare the site for its launch we decided to look at this in the future instead, especially as we were already setting up Flickr to give us a similar end result.

“Your Memories”

To collect people’s memories of RW388 on the “Your Memories” page we decided to use the standard WordPress comments form as it was already well integrated into the frontend of the site, encouraged people to write a manageable amount of text and allowed some HTML for people to link to websites or insert images. The standard admin framework for monitoring comments and being able to grab an RSS feed of these comments/memories were also plus points to using the standard form. WordPress supports paged comments and plugins such as Hikari Featured Comments can be used to highlight particularly interesting memories, but it’s important that the growing number of memories on the site doesn’t become unwieldy and so we’ll watch how the standard paging works as more memories are added.

Filling in a “Your Memories” comment on behalf of someone who emailed their thoughts in via our e-Newsletter email address

We’re looking into adding the option to use Audioboo to record audio memories of the Spitfire as well – in a similar way to Flickr’s photos “boos” can be tagged and Audioboo plugins do exist for WordPress, though we’re yet to find out whether they can display lists of tagged boos rather than a list of a particular user’s boos.

We’re also using the comments form in a similar way on the “Your Visit” page to find out what people think of the gallery and what they’d like to see changed, if anything.

@RW388

We decided to create a standalone Twitter account for RW388 as a way to promote the site in general, tweet RW388-tagged photos or extracts of memories left on the site, and also to broadcast the latest fundraising news and donation totals. Having been lucky enough to speak to a Battle of Britain pilot about his Spitfire experiences we felt we could also take advantage of the #BoB70 hashtag being given so much coverage by Tweeters such as @RAFMUSEUM and @BattleofBritain by promoting our “Pilots’ Memories” page. Officially launching the website on Battle of Britain Day only helped get @RW388s tweets out into the twittersphere all the more!

Since the first flurry of tweets surrounding the website’s launch @RW388 has been a relatively quiet account as we wait for memories and photos – this is difficult as we know how important it is to try and keep content flowing on Twitter, but hopefully as memories and photos begin to be added we can “pick up the pace”, attract a few more followers and use the account a little more proactively.

Powering a site with web services…

An interesting observation and certainly a trap we almost fell into on occasions – especially as we were pushing very hard to meet the September 15th Battle of Britain Day deadline – was that when we were adding our content to services such as Flickr and Vimeo it was important to remind ourselves that the content would not just be accessed from the site but also from within the services itself. Taking the time to add tags, titles, short descriptions (with the microsite URL in of course!) and even geolocating the images before placing them into sets and collection will make a real difference to those browsing our images via Flickr rather than through the website, just as collating our Vimeo videos into an RW388 Channel will help people find all four of our interview clips. It also makes this content look important and cared for, and where’s the harm in that?!

Andrew Dawson is Project Assistant for the Connecting for the Future project based at The Potteries Museum & Art Gallery where he is responsible for helping with the general running of the CftF project, but particularly with the collection and storing of participating museums’ data, the running of The Potteries Museum’s e-newsletter and the maintenance of the project’s microsites & associated Twitter, Flickr, etc. presences. He can be contacted at andrew.dawson@stoke.gov.uk

Connecting for the Future

Context is Everything

Describing the various facets of the Connecting for the Future project – of which I am part of – seemed like the easiest way to give you an overview of when, where and how we’re planning (and beginning!) to use social networking and Web 2.0. Please forgive the heavy use of the future tense in parts, but much of the project is still in the concept/building/testing stage – I’m sure that the follow-up post in early 2011, when much of the project will be complete, will flesh out these concepts with the trials and tribulations of bringing Connecting for the Future to completion in March 2011.

The Very Near Future

One of the project’s main goals – and one of two key deliverables – is to create a hub website for all of Staffordshire’s museums and heritage sites. Where this will differ from normal tourist-centric websites such as Visit England or Culture24 is that the Connecting for the Future concept – “My Museum” – plans to add a social networking element to this information which will allow users to personalise their museums and heritage site experience.

Using Buddypress – a social networking platform which began life as a spin off from WordPress – to power the site, we hope to build a place where people create an account and tag (or “Like” if we use a Facebook analogy!) the museums they’re interested in. This will then augment their view of the rest of the site: for example, an Events panels will display events happening at museums they’ve tagged (with further user-defined filtering for different types of event) or an Object of the Day panel will show an object pulled from the collections data of one of their tagged museums. We’re also looking at ways to implement real life tagging by using individually QR-coded tags that people can hang up at a museum or heritage site to proclaim “This is My Museum!”.

The second key deliverable – and the one that will power parts of the My Museums concept such as the Object of the Day – is the creation of a repository of collections data from all the museums taking part in the CftF project. As well as being fully searchable we were also keen that this data be completely open and so anyone can use the API (Application Programming Interface) to create applications, widgets, mashups or even just play around with Yahoo Pipes to create new ways of viewing or interacting with the data (Digital New Zealand is a great example of how data is being used in this way).

A quick test of the API using Yahoo Pipes

The Present

The events, exhibitions and objects held at the Potteries Museum & Art Gallery have proved to be an invaluable resource for the Connecting for the Future project as they have given us the opportunity to experiment with ideas and services which we think other museums and heritage sites may benefit from using.

We’ve already launched www.spitfireRW388.org.uk, a microsite dedicated to the museum’s Spitfire, and are completing another site to run alongside the City’s Centenary celebrations and an associated temporary exhibition. Both microsites were designed to have only a small amount of static content, instead being given life by memories, photos, audio and video contributed by the public (which I’ll talk about in detail within the context of SpitfireRW388 in a future post). The repository of collections data mentioned earlier is also searchable from each of these websites, and searches can be locked to particular organisations, subjects or any other field or keyword from the data.

The under-construction Portrait of the Potteries Microsite

In a similar way to WordPress.com, both of these microsites are run from a single WordPress Multi-Site (originally WordPress MU before it was subsumed into WordPress 3.0) install, giving us the ability to create new microsites or blogs for museum events and exhibitions incredibly easily and quickly. This very flexible and extensible system means that we can offer those partner museums and heritage sites without a web presence an opportunity to create their own blog, microsite or even fully fledged website, or offer a blogging platform to those who already have an established web presence.

Since January 2010 we’ve been using MailChimp as an e-marketing tool to supplement the print advertising and quarterly “What’s On” leaflets produced by The Potteries Museum. Although there are many companies offering e-marketing services we decided to use MailChimp as it’s less corporate feel and user-friendly interface was something that we felt museums & heritage sites just getting to grips with this technology would appreciate (and the chimps of course – everyone loves chimps!).

The MailChimp dashboard

MailChimp’s “Forever Free” plan is also a great choice for these institutions, as it’s unlikely that they’ll ever reach the 1000 subscriber/6000 emails per month limit, and MailChimp even offers an easily authenticated not-for-profit discount of 15% once that limit is reached. For paying customers their “Social Pro” add-on is also invaluable (and free until March 2011), giving you information about which of your subscribers is on Twitter, Facebook, MySpace, LinkedIn and Flickr, as well as how “influential” each subscriber is on these networks. Any of these pieces of information can be used as a segment, meaning you can email just those subscribers who are on Flickr to tell them about your new photo competition, or just those on Twitter (that don’t follow you – a segment within a segment!) to let them know that you have a Twitter account and what sorts of things you discuss on it.

For the next post in this series I’ll be using our new microsite, www.spitfireRW388.org.uk, to show you more specific examples of where and how we’re using social networking and Web 2.0 to try and engage with the public and open up new sources of information surrounding the City’s Spitfire.

Martin Palmer is the Principal Officer for Libraries at Essex County Council, where he has been responsible for the provision of e-books over the past seven years. He can be contacted at martin.palmer@essex.gov.uk.

e-Books in Public Libraries

I was invited to a meeting of Health Librarians recently to talk about the Essex experience of providing e-books in a public library setting. It was held at the Senate House at London University, which – apart from giving me the opportunity to hear about lots of exciting things going on in a different sector – also provided an interesting context in which to reflect on how e-books in public libraries have developed over the past few years, as I had given a presentation in the same venue (along with Linda Berube, one of last month’s guest bloggers…) on the same subject in 2004.

So, has anything changed in six years?

Well, one would hope so – and a lot has. For a start, the Overdrive download service that we first offered all that time ago is now also available from around 20 other authorities around the country (with more in the pipeline) providing not only e-books but e-audio as well. In fact, growth in interest has been sufficient for the MLA to set up a ‘community of practice’ for librarians interested in sharing their experience, problem solving, requesting advice, and so on.

New suppliers have also emerged, including Coutts/Ingram’s MyiLibrary; Public Library Online (formerly Bloomsbury Online), which offers simultaneous on-line access to ‘electronic bookshelves’; and W F Howes’ Clipper material is available as e-audio downloads. Not only that, but a venerable name from the supply of print material to public libraries – Askews – is about to launch its own e-book service, too.

Not surprisingly, this growth on the supply side has been stimulated to a large extent by a rise in public demand for such material, reflecting a huge growth in e-reading – partly inspired by the latest generation of devices such as the Sony e-reader, the Kindle, and others but also by the arrival of the iPhone, iPad and so on (other multi-functional bits of kit are also available…).

This has been accompanied by a gradual realisation on the part of many publishers that e-books can offer an important new income stream, rather than simply threatening their existing revenue. As a result, some bestsellers now become available as e-books at the same time as the print publication; recent examples include Dan Brown’s ‘The Lost Symbol’ and the accounts of life in New Labour by Tony Blair and Baron Mandelson (ok – possibly not the best adverts for an exciting new medium…), all of which throw into sharp contrast the situation of only a few years ago when it was unclear whether any top-selling titles would ever appear in an e-format.

What hasn’t changed

However, some things haven’t changed that much – and some have had a rather mixed impact. For example, when we first started in Essex, we offered e-books that could be read on generic PCs and laptops, partly because we didn’t want to have to supply reading devices ourselves, but mainly because all e-book readers had temporarily become obsolete and so there were none available to purchase.

The ‘renaissance’ of the e-reader has had the beneficial effect of raising awareness and demand, but has also resulted in bewildering matrix of format/device compatibility questions that – complicated further by Digital Rights Management (DRM) questions – has led in turn to a very confused public. If a borrower has an iPad and it’s compatible with .epub, why can’t they read the library’s .epub titles? (Because the iPad and the DRM wrapper for library .epub e-books aren’t compatible). And so on…

To charge or not to charge?

There’s also some confusion for public library managers at the moment in that, as part of the DCMS review of the service published earlier this year, the government made some very clear statements around the question of charging for e-book lending, saying that there was an expectation that it should be free of charge. This was a useful clarification for some at least, reinforcing the basic message of the 1964 Act that public library reading-based activity should be free; for others, hoping to introduce e-books as a way of generating income, it was less helpful…

However, the change of government has led to a period of uncertainty in this area as Ed Vaizey has said that he wants to consult more widely before deciding on the way ahead. Consequently – alongside all the other changes that have happened over the past few months since the election, it’s perhaps not surprising that any services who hadn’t already firmly committed themselves to launching e-books should opt to wait to see how things pan out.

Audience take-up

Nevertheless, it’s beginning to look as though the attractions of e-reading are finally reaching a critical mass-type audience, with mainstream publishers now having ‘teaser’ advertising campaigns which make the first couple of chapters of new books available in e-formats, enabling potential customers to read them on their mobile phones and – hopefully – get sufficiently hooked to buy the book (whether in print or electronically), while the number of reading-based apps now available for the iPhone and iPad seemingly now outnumbers that for games. Not bad for an activity which Steve Jobs seemed to dismiss less than two years ago, saying that ‘nobody reads any more’.

In Essex, we’ve now expanded our coverage from the original Overdrive and ebrary services to include Public Library Online and Clipper from W F Howes, and currently get the equivalent of around 100,000 ‘loans’ per year from our electronic services, with the level of take-up increasing all the time.

That’s not to ignore the fact that there are still many areas of the e-book world that still need both further development and stabilisation – standards are still more notable by their absence, for example, while collection development is still fraught with difficulty.

Looking ahead

However, compared with the position when we first got involved seven or more years ago – where it wasn’t even clear that there was an audience, let alone suitable content – the relationship between e-books and UK public libraries is now much more firmly-based, and (legislation and budgetary pressures notwithstanding) now seems likely to grow much more quickly over the next couple of years.

In fact, as I sometimes find myself talking about e-books in public libraries at events alongside librarians from special and academic libraries, it’s interesting to see that although the involvement of those sectors in e-material tends to rather fuller, and also dates back some time before that of public libraries, there now often seems to be less difference in terms of scale, range and use of collections across the sectors than might be imagined…

Emma Faragher is an Education & Outreach Officer, at the National Library of Scotland (NLS), where she works on learning and interpretation for The John Murray Archive project. Emma can be contacted at e.faragher@nls.uk.

An Archive in the palm of your hand: The John Murray Archive app at the National Library of Scotland

The John Murray Archive exhibition at the National Library of Scotland exhibition highlights the archive of publishers John Murray. The archive records the business of the John Murray publishing firm, widely regarded as one of the world’s most important publishing archives. It comprises over 150,000 papers, manuscripts, letters and other documents representing many of the world’s most celebrated writers, thinkers, politicians, explorers, economists and scientists. The exhibition is an innovative interactive space which uses a mix of technology and theatre to bring a unique archive collection to life.

NLS iPhone app showing text from John Murray Archive

Originally the exhibition had an introductory film. However this was presented in a separate room and evaluation revealed that it was not well-used or understood by visitors. Therefore in 2009 NLS took the decision to remove the film and seek an alternative way to introduce the archive, deciding that this was a good opportunity to pilot the use of new technologies and handheld guides in our exhibition spaces.

Following a period of research and evaluation of existing handheld guides used in museums in the UK and further afield we decided to develop an ‘app’ for iPhone and iPod. At the time of our research this was still relatively unusual, though the popularity of apps as guides in the cultural sector has grown significantly since this project began, in tandem with the rapid growth of the mobile internet.

Development

The app was built with an external developer, Screenmedia. We built the app over a period of four and a half months. The team at Screenmedia worked with our Learning and Public Engagement team to develop a structure and content plan. We developed a themed structure which complements the archive’s website. Each theme includes an audio-visual introduction and access to a selection of documents. Content was developed with liaison from the curatorial team for the John Murray Archive.

Access & promotion

NLS iPhone app - interactive state

The app is available to the public in a number of ways:

• Remote users can download it from the Apple iTunes store, links have been provided to the store from John Murray Archive and main NLS websites.
• Visitors to NLS with an iPhone or iPod have the option to download to their own devices using our public wifi network.
• Visitors to NLS without their own device can borrow an iPod during their visit.

We have promoted the app using social media, including Twitter updates and Facebook and news streams on our website.

In addition we have used more traditional means of promotion, including a press release to local and national newspapers and more specialist press, receiving good coverage. We are also promoting the app in our public areas, including posters, café table tent cards and inclusion on information screens.

To date there have been almost 900 downloads of the app.

Evaluation

We receive monthly updates on downloads of the app which we map against promotional activity. This has already revealed that though social media promotion is valuable, traditional media still has its place – one of the greatest peaks in downloads was following the press release and subsequent publication of stories about the app in newspapers.

NLS iPhone app - rollover

We track star-ratings of the app following downloads, and have implemented an evaluation screen within the application itself which is linked to our wi-fi system so that people who use the app in the library can send feedback direct.

We are currently surveying visitors to NLS who use the app; initial returns have been very positive.

Some key learning points from the project

Our app began life as a project focussed on providing a service to exhibition visitors, but as soon as we selected our format it became apparent the service would also be of great potential interest to remote users. Therefore as the app developed we ensured that it would be interesting and relevant even if you are not physically at the Library. This has been borne out by the popularity of downloads for the app.

When this project was developed, iPhones dominated the smart phone market, but recent figures suggest that Google Android (the operating system used by a number of other smart phones) is likely to have an equal market share in the future. Further, the, advent of the iPad and tablet computers is likely to change the mobile internet market further in the next few years.

Remote users are increasingly important in our sector and as the popularity of mobile internet, smartphones and other tools develops they will offer many opportunities and tools for the cultural sector to engage with new audiences.

NLS iPhone app - video screen