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![Page 1: IP and Business Models for Cultural Heritage Institutions Rina Elster Pantalony WIPO Conference on Intellectual Property and Cultural Heritage in the Digital.](https://reader036.fdocuments.us/reader036/viewer/2022082701/5515472a55034685568b5100/html5/thumbnails/1.jpg)
IP and Business Models for Cultural Heritage Institutions
Rina Elster PantalonyWIPO Conference on Intellectual Property and Cultural Heritage in the Digital World
Madrid, Spain October 29-30, 2009
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The Experience Economy*
• Service oriented
• Consumed as a package deal
• Based on consumers’ participation
• Oriented on consumers’ need to associate
• Based on branding and messaging
• Operates across physical and virtual worlds
• *Tom Kelly; The Art of Innovation; Doubleday Random House; New York; 2001
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The Role of the Museum in the Experience Economy
• Not a new phenomenon for museums
• Museums are inherently social spaces
• Role of modern museum includes:– Preservation– Providing access to collections– Educating the public– Entertaining and interacting in story telling– Providing the public with an experience
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The Value of Museum Content in the Experience Economy
• Commercializing authoritative content– Commercial content aggregators seek
museum content for commercially driven interests
• Engaging with business partners– New partnerships distinct from sponsor-based
relationships that place value on authoritative content and the museum brand
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The Value of Museum Content in the Experience Economy
• Interpreters of primary content – Those who have authority and place content
into context are in high demand in the online environment
• Engaging interactive participation– Social spaces in the online environment that
place value on visual story telling, socializing, learning, researching and communicating
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The Role of Intellectual Property for Museums in the Experience Economy?
• Is an inherent building block in creating visitor experiences
• Creates association and awareness of the institution as a brand
• Allows the museum to leverage its brand economically
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Balancing Traditional Interests with Economic Interests
• How do you harness this potential in keeping with a museum’s overall purpose?
• Ignoring a need for balance at your peril
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Defining Return on Investment
• What constitutes success in the cultural heritage community may not constitute success in the business community
• Financial sustainability forces museums to acknowledge potential
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Return on Investment in Culture
• Simon Tanner UK Study 2004*:
• Not just money but service to mandate:– Serve public and educators– Promote museums and collections– Serve publishers and commercial users– Serve internal museum requirements– Recover costs of service– Manage museum collections better– Protect museums from copyright infringement
– *Simon Tanner; King’s Digital Consultancy Services; “Reproduction Charging Models & Rights Policy for Digital Images in American Art Museums”; Andrew W. Mellon Foundation; New York; 2004
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Traditional Business Models
• Traditional and Successful Models:– Production of tangible goods branded by the
museum:– Lines of production of goods based on or
inspired by collections– Requires object-based collections
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Traditional Business Models
• Traditional and Less Successful Models– Licensing images of artworks in the museum
collection– Twinned with specialized publishing industry– Based on scholarly use– Assumes a market for primary, as opposed to
contextualized content
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The Co-Branding Relationship
• Presumed partners of equal stature
• Partnership based on mutual need to leverage each other’s brand to create awareness
• The means by which to create an optimum experience for the consumer
• Based on institutionally created intellectual property such as its marks or name
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Authenticated Content
• Combines institutionally created intellectual property with its collections-based intellectual property
• Leverages the brand as having the authority to contextualize content and tell the stories associated with it
• Business relationships are built between information aggregators and cultural heritage institutions
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Social Networking and the Business Model
• Relatively new phenomenon of social networking
• Web 2.0 – interaction and cultural heritage institutions:– Flickr.com– MySpace.com– Facebook.com– Youtube.com– Twitter.com
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The YouTube Experiment*
• Ontario Science Centre experiment to leverage audience awareness and build young following
• Combines institutional intellectual property with collections-based intellectual property in the Web 2.0 interactive environment
• *Kevin Von Appen; Kathy Nicholaichuk; Karen Hager; Ontario Science Centre; “WeTube: Getting Physical With a Virtual Community at the Ontario Science Centre; Museums and the Web 2009; http://www.archimuse.com/mw2009/papers/vonappen/vonappen.html
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The YouTube Experiment
• YouTube #2 search engine after Google,
• Combining search capability with Ontario Science Centre brand and content
• Audience interaction to create (using appropriation methods) new works (IP) ?
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Ontario Science Centre and YouTube
• Ontario Science Centre experienced 5 million views, 19 different sites, with 340 OSC produced videos thereby syndicating OSC content
• In 2008, Ontario Science Centre expanded experiment to host YouTube “Meetup” – combining physical and virtual worlds to
increase visitor numbers
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Ontario Science Centre and YouTube
• Attracted young demographic
• Attracted new local audience
• 1000 videos produced around the event by visitors/YouTubers
• Only a small % covered substantive content
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Assessing the Impact
• Meetup reached 2.3 million people• Cost more to produce than traditional
promotion• But
– young demographic does not respond to traditional interaction
– Young demographic most lucrative media market and represent future supporters of Ontario Science Centre
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Conclusion
• Traditional collections-based licensing opportunities only a part of intellectual property opportunities for museums
• New media has created new ways for museums to meet mission and purpose thereby generating return on investment