6.6D Vatican Museums - Luca della Giovampaola, Head of Technology Support

Loading...

Do curso por Università Bocconi

Arts and Heritage Management

288 classificações

Università Bocconi

Arts and Heritage Management

288 classificações

Today cultural institutions are facing important dilemmas in many aspects of their management. Over the past decades, a new figure has emerged that of the art manager. Imagine you went to work every day to connect artists with audiences, vision with reality, and money with a mission. That is what managers in the arts do, they play an essential role in transforming the minds, lives, and communities through creative expression. This course has been conceptualized to address the need of skills and techniques to help professionals and managers in running art and cultural institutions. Learning Objectives There are three objectives to this course. First, we will approach the biggest issue cultural institutions face, the coexistence of managers and curators and giving evidence as to when, how, and why they can get along. Second, we will focus on some contemporary facets on what is means to manage a cultural institution and what cultural managers should expect and be able to face. And lastly, we will provide models and tools to design and implement appropriate courses of action to satisfy customers (visitors and audiences) and build an advantage over the competition. Course Structure The course is divided into six sections. Five sections are dedicated to specific aspects and themes of managing cultural institutions, while the sixth section is dedicated to individual interviews of prominent cultural institution managers on specific topics. The involvement of professionals and managers gives an incredible value to the learning experience of this course. Each module is paired with a quiz and discussion forums to reflect on the variety of the heritage management, its complexity, and the power of the network that we will build together during the course. Successful completion of the quizzes is required for a course certificate as explained in the Grading Policy page. If you love art and want to make an impact in this unique and fantastic sector, this course will support you in understanding the peculiarities of this sector and how to leverage on its tools to make a bigger impact. Look forward to meeting you online! Acknowledgements: Vatican Museums: www.museivaticani.va Cenacolo Vinciano: www.beniculturali.it/mibac/export/MiBAC/sito-MiBAC/Contenuti/MibacUnif/Eventi/visualizza_asset.html_1283837989.html (ITA) FAI (Fondo Ambiente Italiano): eng.fondoambiente.it MUVE (Fondazione Musei Civici Venezia): www.visitmuve.it The National Trust: www.nationaltrust.org.uk The Archeological Site of Paestum: www.museopaestum.beniculturali.it whc.unesco.org/en/list/842 Museo dell'Opera del Duomo (Florence): www.museumflorence.com Museo del Violino: www.museodelviolino.org _________________________________ Disclaimer - Since some of the videos are conducted with those whose native language is not English, we have decided to sometimes preserve their more emphatic speech to keep a tighter match between the audio and subtitles.

Na lição

MEET THE MANAGERS

Hear what managers have to share about how they deal with the main topics of this field: A collection of best practices told directly from the people responsible for these success cases.

6.1 Meet the managers0:51

6.2 Reliving the Past in the Present | Archeological Site of Paestum - Gabriel Zuchtriegel, Director14:36

6.3 An Example of Virtuosity | Fondazione Musei Civici Venezia - Mattia Agnetti, General Secretary7:18

6.4A FAI Contemporary Art and Collection | Villa Litta Panza - Anna Bernardini, Director3:56

6.4B FAI Fundraising and International Networks | Villa Necchi Campiglio - Alessandra Varisco, International Fundraising Manager11:26

6.4C FAI Fundraising and CRM - Patrice Simonnet, Head of Individual Fundraising7:50

6.5 Research and Promotion as Key Vector for Success | Cenacolo Vinciano - Chiara Rostagno, Director13:18

6.6 - Vatican Museums - Barbara Jatta, Director12:44

6.6A Vatican Museums - Antonio Paolucci, Former Director8:53

6.6B Vatican Museums - Rosangela Mancusi, Head of Multimedia and Web Office10:49

6.6C Vatican Museums - Anastasia Biller, Head of the Office of Public Relations and Services13:41

6.6D Vatican Museums - Luca della Giovampaola, Head of Technology Support9:38

6.6E Vatican Museums - Diego Ortuso, Head of Museum Security Staff7:50

6.7 Museo dell' Opera del Duomo (Florence) - Fr. Timothy Verdon, Director4:56

6.8 National Trust - Simon Murray, Senior Director3:47

Conheça os instrutores

Andrea Rurale
Director
Master in Arts Management and Administration (MAMA)

The first topic I would like to talk with you about is the role of information technology,

technological support, and data collection in the managing of heritage,

the importance of data collection is essential.

How can your office,

better yet, how does your office deal with the entire system of the Museums?

What is the role of information technology inside the Vatican Museums?

And actually, what are the most important improvements

that the office's implemented in the recent years?

Okay, starting from a point that you can mean technology

with everything that a power cord attached to it, data are very important.

Because with data, you can really understand the life of your organization.

We collect data that comes from several places.

For example, we collect data coming from the ticketing systems, or we collect

data coming from our shops, from the book shops or from the restaurants,

and we have built some business intelligence systems that can help us to

understand what the people, for example,

buy, or what the people want to see inside the Museums,

because we also analyze the flows of the people inside the Museums.

So for example, we can understand how many Cokes you

are selling in a single point, in a single shop, and

if the people like some kind of object, for example,

a reproduction of a work of art, if we are selling these kind of a things.

So, we collect the data and try to understand what the data can tell us.

The role of this office is, on one side,

to develop an effective

work flow inside the museum,

and the second role is, of course, to be in help and

to better enhance the artistic side of the collection Museums itself.

Starting from the first part, what is, in terms of a work flow and

business intelligence,

what can you manage with data so far now?

Yes, in the past,

we normally used a kind of system that was called the vertical system:

you have a need, and you build a system for that need.

Started from several years ago, we have changed the approach.

We use a more comprehensive system that can help us in,

first, designing the processes,

for example, when you need to buy something, you need to make a request,

or when you need a person like you to visit here at the museum,

you have to ask to let the people enter the museum.

So, not a vertical system, but a system where we can design a process,

and these processes then are translated into information systems

automatically, and we collect data from this system too.

The documents that are produced by this kind of system are stored

in a document management system that is something like a big

search engine where you, for example, can type in a word,

for example, I can type your name and see when you have been here in the museum,

or I can find some other, any information about,

for example, the arts, the movements of the arts and so on.

So all the data that we now build are stored in document

management systems where the digital documents are stored.

The second part, instead, is connected with the service that, in a way,

is the solution to the dualism between data collection and management and

the curatorial aspects of museums.

So, in what sense can information technology serve and be on service for

the curatorship?

We are here in the gallery busti e statue (busts and statues) and it's one of the prototypes or

a good representation of this system and approach that you you manage.

Yes.

Can you describe it a little?

Yes, I talked about to the document management system, and

you have interphases, for example, to do searches and

interrogate the document management system as well.

We, I think, also have a different approach.

We want to see the information in something that is like the museum

itself, so we are using laser scanning technology.

We are reconstructing digitally, the museum, and we have started from this part

of the museum where we have built in 2014, a prototype of this kind of system.

You can navigate with a web browser inside the system, and for

example, you will find a point of interest and

put your mouse on it and gather information about this point.

For example, the statue.

Yes, for example, the statue, or if we have done some restoration

work on this statue, you can connect it to the documents that we

have digitalized and put into the document management system.

So you can connect directly from the object to the documents.

And the other thing is that if you have some need, for example, in the past,

we have used some materials from the restoration that actually we cannot

still use.

You can go on the search engine and put this word, for example, paraloid,

and find every statue, every work of art where this kind of material been used.

In the past, you have to go to the archives, to the paper archives and

search there for several hours.

Yeah, so this is actually a good

example of information technology serving art's inner meaning.

The final point that I want to elaborate with you on is,

if according to your opinion, your experience, and

your role here in the museum, information technology, and above all else,

the web relationship is facilitating, or

on the contrary, diminishing the actual visit of the museum,

because this is the topic that we keep on developing and

we are developing with the different heads of different departments in the museum.

If this new approach of the museum is a way to prevent an actual visit

for the people that are living the other part of the world or,

on the contrary is it a facilitator, is it an invitation to come here?

No, I feel that this kind of application,

these kinds of systems are an invitation.

It's important how these kinds of applications are made.

You cannot substitute the experience of

visiting a museum with a digital visit on your PC.

The feeling that a work of art can give to you

is not the same feeling that a digital reproduction can give to you.

So, I think that this kind of application can be useful.

I think that we have, for example, noticed this.

We, for example, still don't have an app, an application on your smartphone, why?

This is because an application, for example, a video application is something

that you put between you and the art because you have to watch through it.

It's the difference that you have from radio and television.

You have to watch television.

Radio, you can listen to the radio, and you can do other things.

For example, for us, it's the same reason why we have

audio guides and we still don't have maps,

because an audio guide is something that you put on the side and you can listen to,

and you can see the work of arts that are in front of you.

You shouldn't see a reproduction,

you have to see the real thing.

So, I think that applications are important,

but they are important for helping people visit the museum,

for example, I need services where is the next bar or

restaurant or where can I buy a book, but not for the visit.

So thank you very much.

Luca della Giovampaola, technological support of the Vatican Museums, thank you.

Thank you very much.

Explore nosso catálogo

Registre-se gratuitamente e obtenha recomendações, atualizações e ofertas personalizadas.

O Coursera proporciona acesso universal à melhor educação do mundo fazendo parcerias com as melhores universidades e organizações para oferecer cursos on-line.

© 2019 Coursera Inc. Todos os direitos reservados.

Baixar na App Store

Baixar no Google Play