Singer-songwriter and civil and human rights activist Odetta once said, “The better we feel about ourselves, the fewer times we have to knock somebody else down in order to feel tall.”
After graduating from high school in the late 1940s, Odetta worked as a domestic worker. She studied music at Los Angeles City College. Odetta admired Marian Anderson, whom her mother hoped she would follow in to operatic singing, but “took the clues” from the limitations placed on Anderson in the 1930s and 1940s. Odetta found fame instead as a folk singer. Pete Seeger said of her, “She sang straight, no tricks.” I found the Wikimedia Commons photo of Odetta in 1968 on a Wikipedia page about her.
Digitizing content, using social media to engage with the public, turning to technology to share content–my Twitter feed and my own experiences show how widely these are accepted nowadays by archives, libraries, museums. Is it really only two years since I put up a post here called “Social Media revolution (let’s connect!) wow” after attending the Seventh McGowan Forum on Communications at the National Archives and Records Administration (NARA)? Yes.
I greatly enjoyed chatting with Arian Ravanbakhsh, Merdith Doviak, Adam Minakowski, and (of course!), the Big Dude, AOTUS David S. Ferriero, at the Fair at Archives I on November 4, 2011. As I noted at my blog then, “I told David at the conclusion that this was the most enjoyable NARA presentation I’ve heard to date. I added, ‘so much cool stuff, so much to think about!’ I myself had only been blogging as Nixonara for just under a year then. And I’ve shared some of what I’ve been thinking since then here.
But NARA was wise never to hold another Social Media Fair. It instead has relied on its products to show how it approaches communications. It’s a fast moving world out there! And the National Archives is just one of several cultural heritage institutions making its way through a new way of doing things.
Libraries, archives, museums face different challenges in working out strategies for digitization. NARA especially has a lot to work through, given the very wide range of people who use its records and view its exhibits. The museum visitor, K-12 teacher, the student, the genealogist, the academic scholar, the government historian supporting policy making officials now in office, the journalist, the investigative reporter, the advocate–all approach the National Archives a little differently.
Many exciting opportunities for NARA to work through as it looks to transform how it carries out its mission. Yes, as a former employee of the National Archives, a historian, and a supporter of Ferriero, I’m all for the Big Dude’s Transformation vision. But that doesn’t mean I think what NARA needs to do is easy.
Serendipity. I still remember the joy of browsing the stacks at the Library of Congress while a graduate student in history in Washington during the 1970s. Collections security was looser then and I had a pass that gave me access to the stacks at will as I did research. That wonderful “aha” moment when you walk down the aisle to pick up a book but stumble across another one you didn’t know existed. In a different way, the digital world has those same moments of delight.
An article in the New York Times this past weekend pointed to how the Metropolitan Museum of Art is using technology. The Met’s Chief Digital Officer, Sree Sreenivasan, a professor of digital journalism at Columbia University, explained how he sees his role:
“I call the chief digital officer ‘the chief listening officer’ — to help the staff in various departments think about how they can do their work in better ways through technology. I also work closely with the chief technology officer, Jeff Spar, and we ensure the infrastructure, processes and protocols are optimal for the museum.
The title of CDO is relatively new in American business and means different things in different institutions. At the Met, the role is to help connect the physical museum experience with the digital, the in-person with the online.”
Sreenivasan shows sensitivity to the range of user experiences, from the person experiencing the “magic” of standing in front of an object in the museum to the one who seeks contextual information on the web. He wisely observes, “Striking that balance and letting the visitor have options is key.” I like the way he avoids the trap of “Ur doing it wrong.” Yes, I’m a fan of positive incentivization, not conformity through putdown.
It doesn’t surprise me that Sreenivasan, a fan of art and an avid “museum goer” whose undergraduate major was history, focuses on storytelling as a key component in his job at the Met. I like how he describes the key contributions of the Met’s technologists (a “world-class team”) but takes a sensible approach to technology as a tool.
“The curators and conservators are the experts. They collect and care for the objects here. My team’s role is to help amplify their work and get that content seen by as much of the world as possible. The idea isn’t to shove technology into places it isn’t needed. The idea is to make sure the right technology, in the right amount, is available, in the right context. Just today, I had a meeting with the curators in the American Wing. We talked about everything from in-gallery technology to social media. I am on a listening tour of various departments, making sure they have the best possible tools to tell their stories.”
The Met has been “very digital for a long time” so Sreenivasan sees his position as part of its evolution. He only has been on the job since August so it remains to be seen how it works out to have a Chief Digital Officer. That he is beginning by viewing himself as a “listener” and a partner to mission staff not only is encouraging, I think it is essential for an executive to succeed. Seeing yourself as a partner and supporter of line staff starts you off from a position of respect for others that can take you through the inevitable zigs and zags change requires more readily than insularity can.
At least in Washington, the “listening” part can get complicated. Skip the step at the outset and you can easily go askew in any number of ways. Insularity, balkanization, lack of a big picture coordinator with an eye on disparate elements, unacknowledged or unacknowledgeable external and internal pressures to produce results–bureaucratic hazards have undermined many a big project in Fedland.
But even if you do a lot of listening at first, it is easy eventually to reach a plateau where you do less of it. Sometimes without realizing it! Time brings with it the accumulation of baggage–your choices and decisions trail behind you. If you feel you must vest yourself in them, defensiveness or just the natural need to say “we’re on the right path, let’s keep walking on” can keep you from listening to and looking at what is around you.
In the worst case scenarios, and yes, I’ve seen this from time to time during my 40 years in Fedland, you might even resort to “knocking down” others in order to “feel tall.” But it’s better to “sing straight, no tricks,” at least in my view. And my Twitter feed tells me there are a lot of people out there seeking good, thoughtful conversations.
I first heard about the NYT story on the Met’s Digital Officer via Twitter; someone I follow re-tweeted a quote. What caught my eye was the added comment saying “amen” to “a listening and conversation channel.” I’m always on the lookout for positive models for handling these issues so I clicked on the link.
Here again, I like Sreenivasan’s stated goal of valuing two-way communications:
“It isn’t just a marketing channel, it’s a listening and conversational channel as well. Some critics of social media complain that people spend more time taking photos and sharing the photos than appreciating the moment. I think that if visitors want to capture and share what they’re experiencing, that’s their prerogative. And they will seek out venues which encourage them to do so. We can encourage and support the ones who are excited about social and photography, without disturbing those who aren’t.”
I don’t know how things will play out for an official who’s only been on the job a couple of months. But I’m heartened by what sounds like authentic embrace of the institution’s core mission more so than just a focus on tools.
“I am trying my best to learn as much as I can as fast as I can. It’s a special place with so many ongoing projects that the scale of this institution is hard to fathom from the outside. I’ve had what I call a “30-year, one-way love affair” with the Met. Now that I am on the inside, the love has only increased, but there’s also a sense of awe at the privilege of helping tell its story.”
Sreenivasan is lucky that he has been able to combine longtime positive feelings for the institution with respect for its employees and for his responsibilities to help shape its operations during a time of great change. To me, the key word is respect!
I was born in New York City and although my family moved away when I was a child, I have many fond memories of visiting the Met during later visits to a vibrant, exciting city. So here’s hoping what the interview suggests Sreenivasan brings to the job–a key function in this day and age–is a winning combination for success at a cultural heritage institution!














