Schedule

09:30

Registration

Collect your delegate badge and join us for tea or coffee.

10:00

The Avengers x The Night Watch

What do the Avengers have in common with the Night Watch? And how can museums benefit from the popularity of tutorials? The Rijksmuseum will share their newly launched (February 2019) multi channel YouTube strategy, connecting todays visual culture, with the visual culture of the museum. Through YouTube, the museum aims at translating the educational mission outside their walls in order to create new and fun online museum experiences.

Wouter van der Horst

RijksMuseum

10:30

#BoleynIsBack

Rumour has it that Queen Anne Boleyn is back. She’s been spotted wandering the streets of London playing tourist #ThrowbackThursday style and has taken control of the Tower of London’s social media accounts with appropriate queenly sass.

Her presence has been causing quote the furore with word spreading that she is due to travel by boat down the Thames from Greenwich to the Tower of London to await an uncertain fate… From newsroom press conferences with Thomas Cromwell to shameless selfies by her own portrait in the National Portrait Gallery, the Tower of London tells the story of Queen Anne Boleyn like never before.

Claire Lampon

Historic Royal Palaces

11.00

It’s all in the listening

Being open to online dialogue about our organisations – complementary and critical – allows us to demonstrate that we’re really listening to what people are doing and saying. Social media allows us to react to major world-events in real-time and be a voice within our local and global community of followers. In a little over a year, Tate doubled its Instagram following and interactions through listening to the — sometimes painful — truth and opinions expressed by the public. We take on board their comments, their praise and their criticisms and shape our strategy around our audience.

Lindsay O'Leary & Sarah Osborne

Tate

11:30

Creating and Telling Radical Digital Stories

This presentation will discuss the ‘Alternarration’ project which has taken place between March 2018 and March 2019.

The project is an Erasmus+ partnership between Peshkar (UK), the Centre for Intercultural Dialogue (Macedonia) and Out of the Box International (Belgium) and explores Radicalisation and Extremism of young people in online spaces.

The presentation will focus on one element of the project in which Peshkar commissioned three digital artists to create ‘Digital Stories’ exploring the themes. These ‘Digital Stories’ evolved into a series of digital artworks including interactive storytelling, data sonification and graphic art.

Steph Meskell-Brocken

Peshkar

12:00

Lunch

Head to the second biggest Conservatory in London and grab lunch with your fellow delegates while exploring the Barbican’s tropical oasis.

Home to exotic fish and over 2,000 species of tropical plants and trees, the Conservatory is the perfect place to chat to colleagues from around the world.

1:00

Sponsor presentation from ArtFund

Our friends at ArtFund have generiously sponsored Culture Geek 2019. Take a minuet to learn about their work supporting the arts in the UK.

1:15

Step inside the Orchestra

The Philharmonia Orchestra have been touring large-scale immersive installations for over a decade, and have reach nearly 400,000 visitors in that time. They moved into VR in 2015, and have now created 3 VR films to date, most recently winning a Raindance Award for Best VR Music Experience (2017) and premiering at SXSW2018.

The Philharmonia’s Head of Innovation & Partnerships, Luke Ritchie, will speak about their future plans for Virtual and Mixed Reality experiences – in particular their focus on immersive audio and location-based experiences.

Luke Ritchie

Philharmonia Orchestra

1:45

Designing a minimum viable experience

Immersive Dickens, a V&A research project into next generation immersive experience, reveals how we might create more compelling museum experiences for young people. This innovative project with pioneering theatre company Punchdrunk Enrichment and creative technology studio The Workers, reveals how pursuing a more human centred, iterative approach to immersive experience can result in more engaging modes of display.

By focusing on just one museum object – an original Charles Dickens manuscript – and a demanding audience, Immersive Dickens shows the benefits and potential of the ‘minimum viable experience’.

Kati Price

V&A

2:15

TBC

This presentation will give you real actionable advice from one of the most recognised cultural venues in the world. We’ll announce details in the coming weeks.

2:45

Break

Head back to the Barbican Conservatory to have a coffee with your fellow delegates.

3:15

Building sustainable revenue through online video

Only big organisations have big followings on YouTube. No one watches long videos on YouTube. You can’t make money with digital. This is just some of the bad advice you might hear when you look to branch into digital content.

Through our YouTube channel with over 450,000 subscribers, we’re taking the work of the Royal Institution to a global audience, whilst also building a significant income stream.

We want to share how we managed to become one of the most successful cultural YouTube channels, some of the mistakes we made, and how we’re reimagining what ‘digital’ means to our organisation.

Cassie Williams

RI

3:45

What Galleries & Museums
 Can Learn From Modern Political Campaigns

Barack Obama’s 2008 and 2012 digital campaigns changed the ways brands would use the internet forever.

Ten years on from his inauguration, Haneef Khan, Director of Advocacy and Engagement at Blue State Digital London, explores what museums and galleries can learn from modern political campaigns, drawing inspiration from his work with The Democratic Party, The Labour Party, Natural History Museum, and Tate Modern.

Haneef Khan

Blue State Digital

4:15

TBC

This session will be announced in the next few weeks

4:45

Conference Closes

'I like the way that Culture Geek brings together people from across the cultural sector, rather than just attracting people from one art form.'
Simon Parsons
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