CART Transcript for Closing Plenary – MoCAtv: A YouTube “Original Channel” and what happened next

Saturday, April 5, 2014 3:30 – 5:00 p.m.

Closing Plenary MOCAtv: A YouTube “Original Channel” and What Happened Next

Held at:

Renaissance Baltimore Harborplace Hotel

202 East Pratt Street

Baltimore, MD

Communication Access Realtime Translation (CART) is provided in order to facilitate communication accessibility and may not be a totally verbatim record of the proceedings. 

>> John Toba: Hello. Welcome. Grab a seat.

>> Ted Forbes: If everybody in the back of the class can come toward the front.
>> Hear hear.

>> John Toba: Thank you all for staying right to the very end. We really appreciate it.

>> Bret Nicely: Yeah. Thanks, everybody. We’re obviously going to be showing a lot of videos. If you’re somewhere you can’t see that screen, we’re going to make even less sense. So please, pay attention to us. Of course, over there.
I’m Bret Nicely, the Associate Director of Digital Media at the Museum of Contemporary Art in Los Angeles.
>> John Toba, head of product for MOCAtv. The one person not here is Emma Reeves, our partner in crime at MOCAtv, Creative Director of MOCAtv.

>> Bret Nicely: I want to thank Rich, Nancy and all of the organizers for inviting us to do this closing.
MOCA hasn’t been to Museums and the Web in six years, and returning now is incredible, inspiring and a huge honor to be here to give the closing. I hope it is the first in many more steps towards being a part of this community.

>> John Toba: So we’ll kick off and tell you a little bit about the origins of MOCAtv, the YouTube channel.

>> Bret Nicely: So MOCAtv began really in 2011 at this exhibition called Art in the Streets. Art in the Streets was the first comprehensive, spectacular overview of graffiti and street art. And at a particularly crowded day MOCA’s then director, Jeffrey Deitch, was walking to the show with Ari Emanuel. Ari is a legendary talent agent in Hollywood, and they were looking around and seeing crowds that hadn’t been to MOCA in many years. They saw lines going around the block. They were struck by the diversity of the audience, the engagements they were having with their art, with their phones in front of them and sharing their Art in the Streets experience with everybody.

>> John Toba: Simultaneously, YouTube was beginning this competitive process for the award of grants for what was going to be the Original Channels program. That was, the idea was there were 100 channels YouTube was going to fund, minimally fund in order to seed this new economy. They were hoping to create a new economy of professional quality, television quality content that would live exclusively, to begin with, on YouTube.

>> Bret Nicely: This was an investment in “Television quality content.” The intent was for YouTube to be a challenger to audiences on Netflix or Hulu. I think the best metaphor we heard at the time that was the thinking behind the Original Channels initiative was YouTube wanted to go away from lean‑forward watching, sitting at your desks watching a video on a screen or a phone, and transform a lot of that to lean‑back watching, where you lean back and watch video.

>> John Toba: You can see the types of organizations that were awarded these kind of initial grants out of 100. There were a lot of, as you can imagine, celebrity‑based. A lot of famous people, Madonna, Shaquille O’Neal, Jay‑Z and Pharrell. The Onion got a channel. A lot of science and education. Ted famously got a channel too.

>> Bret Nicely: A long way of saying it didn’t seem like the most natural fit in the world. A lot of these other entities had big audiences. I think we know a lot of people follow the World Wrestling mold ‑‑ Federation, I’ll never say WWE. Or ESPN. There were bodies in the entertainment industry that were going to do high‑quality content on YouTube. There was also this other category of something called YouTube celebrities. There were these people who had accomplished massive view counts, every video is getting six‑figure views within the first day, or they were making money from the YouTube videos, all from their bedrooms.
We didn’t know who they were. We knew about the entertainment people, but there was this whole category of folks, YouTube celebs and did not have formal training. They used the platform.

>> John Toba: I asked the head of YouTube in conversation at the studios one day, and I asked, Why would you give an organization like MOCA a YouTube channel? Are you crazy? Do you not want views?
He said, We want YouTube to be nutritious as well as delicious.
That was his answer.

>> Bret Nicely: Yeah. So we’re going to back up even more and talk about what was going on broadly in museum web video and MOCA at the time.
So up to the point of us putting together our proposal to be an Original Channel, we made, MOCA made, some pretty good web videos. We were getting 50, 80, 100,000 views. We did this video of a massive explosion that went viral for a small moment.

>> John Toba: This, by the way, is not a video. We’re not going to show you this, but we’ll show lots of other videos.

>> Bret Nicely: You will see clips from this. There will be videos.
So yeah, we made videos, and MOCA’s online audience was actually growing a lot. I don’t mean our website audience. Our website was and remains terrible.
But we had made a sort of decision, given the size of work, MOCA has 45 full‑time staff. We are stretched, like everybody else, we made a decision in the years leading up to MOCAtv to be ambitious in social media, to realize that the audiences we’re trying to reach are living in social, living on Facebook, Google Plus and these other places, and we were going to try to do our mission there.

>> John Toba: We’ll show you the first video now. It’s a video I’ve only ever seen once. Because it predates me.

>> Bret Nicely: Right. So this video, part of the proposal process of putting together something called a deck, which is like your proposition for why you should get a big bag of money, and this is the sizzle reel. This is the video we cut to give a sample what MOCAtv would be. Again, this has only ever been seen at a little office to some YouTube executives in Santa Monica and MOCA staff and people from William Morris. So enjoy.

>> We’re celebrating the artists who are the foundation of MOCA.
yeah yeah yeah yeah
hey hey hey hey

Everybody keeps on talking about it
nobody’s getting it done
everybody keeps on talking about it

>> My life actually is exactly like my paintings.
>>   Yeah yeah yeah

Yeah yeah yeah yeah

Yeah yeah yeah yeah

Yeah yeah hey hey hey

Everybody keeps on pushing and shoving
Everybody keeps on pushing and shoving

>> Black is an interesting color, because there are so many colors that go into black.
yeah yeah yeah yeah

>> Bret Nicely: Phew. None of you have seen that, it’s still never been seen outside of Santa Monica.
>> John Toba: It’s obvious that 50% of that never actually happened, after that.

>> Bret Nicely: How many have done grant proposals and didn’t even bother to try to accomplish it?
>> John Toba: So let me talk a little bit about the range of content that we actually did go on to make, and to begin with our range of content was quite kind of willfully schizophrenic.
We wanted to do some stuff that was extremely popular. We wanted to succeed, by our standards, by YouTube standards. We wanted to stay true, to the best of our ability, to the august history that MOCA has, the strong academic background, the DNA of being the artist museum.     We wanted to stick to the pitch, to the best of our ability. So this is just a little glimpse. We’ll dig a little more into the actual content strategy.

>> Bret Nicely: These screen grabs, if my multiplication is right, there are 20 here. MOCAtv currently has 400‑something videos in a year and a half. That’s something we’re going to return to again and again is volume, pace, the way that the unique things about YouTube and the speed that we drove on that channel affected the rest of the digital strategy and the rest of the museum.
Here are some really big facts. I’m not going to read them to you, but continuing on that theme of scale, volume, these are like the baseline things that everyone kind of knows about YouTube or that YouTube tells people about how big it is.
One thing not up here, it’s like YouTube is the second biggest search engine in the world, after Google. It’s a huge, huge beast on the internet.
But again, kind of to set up the MOCAtv journey, I want to give a brief overview of things. At the time of MOCAtv’s launch, all of you, museums around the world, had already uploaded billions or millions, many thousands of hours of video.
In two museums, the Tate and Guggenheim were on YouTube, the same year YouTube launched. They were early adopters. We worked doing something so innovative, never seen before by deciding to put some things on YouTube.
Our actual first video we ever uploaded to YouTube was in 2007, and here’s a still from it. It was a 52‑second promo for Japanese art we were showing at the museum. It was predictive that the first thing on YouTube was a commercial, a trailer. Dozens followed. 50, 60, 70 videos leading up to MOCAtv, but they were not the core of MOCA’s content. They were ancillary, they were things that supported talks, they were things that documented performances.
They had very different intentions, and they were produced to different quality levels over the years. I think that’s what most of us were doing in making web video through the mid to late 2000s.
But of course, we knew that really good, really entertaining, educational, high‑quality video could be made about contemporary art, and Art 21 did it. They did it the best. They were in our minds. We had to measure, I think, most of the early creative conversations against what we knew Art 21 was doing.
To restate that thing about volume and how much video there was already, there was already a YouTube for museums. There was this thing called Art Babble, which when it launched I was thinking wow, I wish I was going to museums on the web more. Like the things happening in the field were incredible.
As an aside, we are on Art Babble now, so we accomplished adding MOCAtv to Art Babble. We couldn’t be happier.
Yeah. Now let’s progress a little bit into the specifics of having a YouTube channel, what that meant for our day‑to‑day lives and leading into the effects that it had across the rest of MOCA’s life.

>> John Toba: Bret and I first met during that period when YouTube was beginning this Original Channels program, and I was working for a different YouTube channel. Bret was there as a representative of MOCA. We were there right at the very beginning when YouTube decided they were going to teach these professionals from all these different places, Jay‑Z and Shaquille and those other people and MOCA how to be great at YouTube. They created a playbook ‑‑

>> John Toba: They used the words “special sauce.” Ironic, but it was here’s how to be successful on YouTube.
I was sent to a beachfront hotel in Santa Monica for two days to learn best practices, to sort of get the secrets of how to do a successful YouTube channel. These are some Instagram photos I took when there.
What did we learn? What were the things drilled into us in the indoctrination? Probably stuff you guys know. The first seven seconds of your video are the most important. Make sure they’re hook‑filled and compelling. Don’t put your logo, don’t put didactic text. Make the first seven seconds great.
We also learned that the video thumbnail, the image used to represent your video on YouTube most often succeeds if it has a big face in the middle, so try to use that.
What else did we learn?

>> John Toba: That one we still use.

>> Bret Nicely: We do. This is more for the data‑minded, when you enter text, metadata into the about field on YouTube, we generally write maybe 100, 200 words that describe in a very museum, high quality way the video. The first 100 words are what shows up in a search return.
You have to make sure your first 100 words of your video description, if you want to be clicked on and by the measure of success we thought we were trying to hit, views, make sure the first 100 words are pretty compelling. I’m not saying upward, but we were told that.

>> John Toba: Bret is right, we were very much of the mind right at the beginning that views was this magical goals, views was somehow the most important metric. I think it’s fair to say, I don’t want to spoil the ending of the show, but I don’t think we necessarily feel the same anymore.

>> Bret Nicely: Right. Other things MOCA had to do in getting its YouTube channel, we were coming from a place where we understood what it meant to build out a website. We understood what it meant to build out a Tumblr, different digital platforms with a buildout phase that requires design.
We naturally thought, Boy, our YouTube channel better be well designed. The rules of what goes into YouTube channel design change so rapidly and drastically.
What you’re looking at here is, I think, wasn’t ever animated. These are three different design comps, but I like animated GIFs. This was a layout of what the channel would look like probably halfway through the design phase. What did the channel look like at launch?

>> John Toba: This is design iteration number 7 out of 15, and on launch it was white.

>> Bret Nicely: We did work with Studio Number 1, who is Shepherd Ferry’s design company, so going to a talented, very well‑known artist that MOCA had a history with, asking him to design our YouTube channel, it was weird but we were going to give it a really serious try. He did do a good job with the logo. That’s nice.

>> John Toba: Yeah, so I think it’s interesting that we went through this kind of quite long, complicated design process, ended up not doing any of this, ended up with something much simpler, much plainer which you can see today.
The thing we did do, the thing we did spend a lot of time and energy and effort on was creating this animated bumper. You probably will see it on any of our videos, you will see it lots of times during this presentation. It’s this kind of 3‑D animated bumper that begins every one of our videos that is drawn from the MOCAtv logo.
That’s really where we began our look. A lot of what you’ve seen so far predates Emma and myself coming on. We came on around about the end of April, beginning of May. May 11, 2012, designed to be able to launch October, 2012. That’s about four, five months later. I can’t remember.

>> Bret Nicely: We pitched July 11? This unfolded over a lot of time, all kind of happening with the web department of one, communications department of different people at MOCA cribbing a lot of help from WMB, of course. And another spoiler alert, MOCAtv tripled the digital staff from one to three. We feel good about that.

>> John Toba: The animated bumper at the beginning is one of the first things we set our minds to. One of the great advantages of being in Los Angeles is there’s quite a large number of very experienced, very high‑quality professionals that you can work with in the film, video and TV business.
We worked with a company called Prologue, who are quite well‑known for making title sequences. They made title sequences for movies that you’ve seen where you remember the title sequences. Like “Seven,” movies like that.
The guys at Prologue wanted to work with us because we were MOCA. Emma and I were thrilled and excited because we both came from outside the museum business. We were really excited to realize that people wanted to work with us just because we were MOCA. That was an amazing feeling for us. We suddenly were getting really, really high‑quality, very expensive work for very cheap, just because people wanted to do this with us.
So we’ll show you a video now.

>> Bret Nicely: All this activity, being trained by YouTube, doing some design work, it all builds up to launch. We’re going to show you what we launched with.
I shuffle around
the tectonic plates
in my chest

You know I gave it all

Trying to match our contentness
to change seasonal shifts
to form a mutual core

As fast as your fingernail grows
the Atlantic ridge drifts

To counteract distance
you know I gave it all

Can you hear the effort
of the magnetic strife

Shuffling of columns
to form a mutual call

This eruption
and you didn’t know that I had it in me
without your love
I didn’t know you had it in you

Your continuity
I didn’t know you had it in you
this eruption
and stagnation
you didn’t know
you didn’t know

>> John Toba: So just to put that in context, that’s a collaboration from Bjork. If you don’t know, that’s Bjork and a Los Angeles based artist, Andrew Thomas White. I could talk about that for a long time, why we did it, how we did it. But there’s a few really key points about it.
Number one, we don’t spend that much money on every video that we make. That was a very deliberate decision to come out with a big‑tempo video to get some attention. I think in lots and lots of ways, it worked. A few stats about our video: In our first year where we produced a couple hundred videos. That video alone was probably responsible for half of our views, probably responsible for 2 million out of the first 4 million views we got.
We won a Webbie in our first year for that video. It was on TV in lots of places. But the MOCAtv branding on it, it was physically in the world in lots of places. I’ll show you a video in a second which kind of exemplifies that. It’s been at film festivals. It’s been in Times Square, where the Times Square Advertising Coalition simultaneously play videos on all the screens in Times Square at the same time. They chose that video at midnight every night for a month. That was really quite incredible.

>> Bret Nicely: A couple of other things. We had premieres and events and screenings and Q & A’s with the artists at the museum. Putting out this spectacular tent pole program and web video led to real people coming to MOCA, having a very traditional mission‑centered sort of experience with art and artists.
It also led to a sort side education program, Bofhilia, where Bjork and her team, in a mobile tablet‑based learning experience, it was a nice weekend where members of our audience, our membership got to have a very unique Bjork experience.

>> John Toba: This spawned other content. People made other content about this content. We made other content about this content, but other people made content about it too.

>> Bret Nicely: Here it is in Times Square. We’re from Los Angeles. We don’t really believe that Times Square exists.
They sent a video of our video there.

>> John Toba: It looks really cool to me, all these screens simultaneously.

>> Bret Nicely: Right. At the same time, there was another campaign, another effort we made at launch to do it in a unique way to set us up for success, and that was called the MOCAtv membership.
When we were beginning with YouTube, sitting in the training sessions, we were kind of under the understanding that incentivizing views, or incentivizing subscriptions, like if you click subscribe we’ll send you a toy. That was a blacked‑out practice. You weren’t allowed to do that.
At a sporadic meeting with team YouTube, they were like, Why don’t you guys give memberships or something? We did. We created a system, a campaign if you subscribe to MOCAtv, you get a free three‑month membership to the museum.

>> John Toba: That was incredibly difficult, just to physically figure out how to get people from the subscribe button on a YouTube channel, somehow to communicate to them and be able to send them, without violating any privacy requirements.

>> Bret Nicely: I knew what an API was, but we had no idea how to automate the process of YouTube, subscribe ends up in razor’s edge.

>> John Toba: We automated it by having unpaid interns. That was the automation.
>> Bret Nicely: We sent people a link to our Shopify store, and at checkout they get a PDF of a membership card. That was how they joined the museum.
To this day, we’ll talk about this maybe more or not, but the connection between these web videos, between frankly all of what MOCA does online and the museum is an open question. There are many, many people who think that everything that’s on MOCAtv is an exhibition or that you can go to the building and see it. Then there are people who have no idea that we are a museum, they’re just seeing web video, watching music videos.
If you were to say, You know, the people who made this go to work in a building every day, they don’t know. I find that thrilling and terrifying at the same time.
So kind of on that theme of explosion and the relationship of MOCAtv to our other activity on digital, I’m being funny here, we don’t know where all of the views are. We suspect they’re one big KBI, the one big thing we had to hit. It made sense, well, we have an online audience, let’s try to make them watch videos.
You know, how does that kind of manifest itself? It manifested itself by doing a ton of posts. We did 5,000 posts last year across all of our social media platforms. As John talked about Bjork spinning off into other tangible presences and ways to be experienced around the world. Every MOCAtv video turns into many things, and I think we learned some things about how to do things on social media that way.
You know, we learned that across platforms individuals perform better than video embed. If you embed your YouTube video and Facebook stream, you’re going to get more clicks if you put a great picture and a link to YouTube.
We learned that, although we love Instagram, it’s probably the best platform in terms of percentage of audience to percentage of engagement, you can’t get a video of you from Instagram. It’s impossible. You can’t measure it. I had to explain that to people a lot. We had to learn that.
We kind of established a bandwidth for every platform. I never really understood it, but I know that John and Emma in deciding to publish sometimes five videos a week were under the impression that’s what you did on YouTube, you fed your audience, your content‑hungry audience a lot of stuff.
We kind of did that on social too. We figured we could do 2 to 3 posts a day on Facebook, Google Plus. Twitter had no ceiling. Tumbler had no ceiling. We posted a lot of things.

>> John Toba: That’s another place where I think the YouTube culture and museum culture had a little bit of a clash, a little friction there. The frequency of our content, as contrasted with frequency of museums’s exhibition, annual exhibition output was shocking to the museum staff in the first instance.

>> Bret Nicely: This at times is shocking when you get bad press for it. Something else that MOCAtv did to our overall digital strategy, at least how we relate to audiences online, was that we changed how we related to the people that consumed our content. We spoke ‑‑ we were free to speak in the language or in the sort of voice of the artists we were working with.
I’ve been on many amazing new social Twitter chats where the debates are like, You should be talking about things other than your museum half the time, or you can’t always cut and paste your calendar copy, push that out and expect success.
One of the things that I think we naturally gravitated towards doing was literally trying to speak in the voice of the art, trying to erase the distance between the artists at the core of our mission, always at the core of MOCA’s mission, the artists and museum and people online.
This is but a taste of our animated GIF out there. There have been definitely high profile or low profile weird times where you confuse your audience or say something wrong, but all in all it’s been good.
What I should say, for all of that sort of new voice, all of that different way of addressing our audience, still the highest performing content we post in the digital realm is what you ex  ‑‑ to expect well. This is the most popular thing we’ve posted. It’s a sculpture, good, high quality content, but on one hand trying to drive all of this, make all of these assets across all of the digital platforms lead to views is a fool’s errand. We don’t have a way to do that. But if you value engagement and performance on the platforms, you post pictures of good art, and that generally performs well.
Do we know what performs well means? No. We’re not converting these people into members. We haven’t figured out a lot of the mind‑blowing ways you all are measuring this now, that I’ve learned about being at this conference. At the very least, some findings happen and we’re taking them back.
Another strange side effect of working with YouTube is that we got a massive Google Plus following. MOCA is literally between these entities on the sort of count of biggest brands on Google Plus. I admitted this in a session earlier. I don’t know what to do with that.
We’ve got 2.2 million people seeing our stuff. Probably not ever seeing it. But it’s an interesting side effect. It’s a great problem to have, interesting opportunity for experimentation. But actually, John, you can speak to the side effects of Google Plus linking with YouTube.

>> John Toba: I don’t know if everyone was aware of the recent migration that YouTube made, where the comments if you were ever at the time frustrated with spam, your comments, unpleasant comments, they shifted it so that you had to link your YouTube channel to Google Plus, and lo and behold I think it’s working.
There is significantly less spam and significantly less of the ‑‑ it tends to prioritize your more engaged commenters and sharers. So that’s one aspect of the way the Google Plus interacts with YouTube.
Back to the kind of YouTube content. We were told in those first days at YouTube that 50% of the battle is content, 50% of the battle is marketing. But 50% of the budget we allocated probably 10% of our budget to marketing.
So we worked very hard to create content, out‑and‑out content. Often that consists of digital assets, social assets, but also we just made video assets, trailers, teasers, all kinds of content about that content. We were going to show you a couple of examples of those.

>> Bret Nicely: These are screen grabs of four trailer teasers. You will see they kind of address different parts, both of frankly MOCAtv content and core exhibition content as well. I had this idea of asking you guys which one I should click on or if anybody has a preference. Should I just go with my favorite? No shoutout? Nothing?
>> Let’s see your favorite.

>> Bret Nicely: OK. We’re going to go with my favorite.
>> Spoiler alert.
>> Introducing next gen, the home within a home by Lennar. Your family is constantly evolving.

>> John Toba: I don’t know if you know there are ads on YouTube.

>> Bret Nicely: There are.
>> What brings us here today to YouTube studios? My buddy Gibs here, also known as Dynasty Handbag, gave me a single ‑‑
>> No reels.
>> Said do you want to do a short film with me, Fred Armisen and MOCA and YouTube? Done. Enough said.
Don’t you want to read the script?
No. Where do I go? When do I get here? That’s when I got here. What about you, Fred?
>> For me, my friend and director Alex Lambert said, Do you want to do this thing with mo ‑‑ I said mo is good enough.
Let me finish.
Are you going to say ca?
Great. Now we extended the conversation. You could have stopped at mo. She’s brilliant, great, and my friend, and I said absolutely.
Then I heard Jack was doing it, then later I found out you were doing it. Then here we are.

>> Bret Nicely: I imagine a time in MOCA’s history when we’re putting together a grant application, we’ve got “The Los Angeles Times” quote, “The New York Times” quote and Fred Armisen, and mo, we’re going to pull the quotes.
I’m joking, but this was made as a way to promote an art and comedy series done by director Alex Lambert with these people. John had a dedicated budget to make the video?

>> John Toba: No, no budget.

>> Bret Nicely: We pointed a camera. This is the first time we’ve kind of shown it in a roomful of people, realizing that the different ways that it resonates.
Let me show you ‑‑ what other one?
>> When people think nobody is watching, I can’t see the fun or honesty in that.
>>   No, no, you can’t catch me
whitewashing in the lavatory

>> Is that an art form? I don’t know. I can sure as hell tell you that is a crime.
>>   When it’s dark

Down in the subway
hiding from the light

>> A whole miserable subculture.
>>   No no no
you can’t catch me
writing on the whitewash in the lavatory

>> Bret Nicely: That was for a series of programs called Art In The Streets. Here is one for an exhibition that just opened at MOCA.
>> Bret Nicely: What’s the point of showing you that stuff? I think an important effect of MOCAtv is its integration into the rest of what MOCA does.
We should probably back up a bit and talk about promotion, in that even in the world where you make these trailers, the things that will get a lot of views and still perform well is good content. That’s why we’ve got this up here again. Ultimately, we feel it’s about good content.
John, when we were on a call in the early days of mutual core with probably 13 people on the Bjork label PR team, talking about all of the places we were going to try to get it placed, the different magazine ads, the entire probably expensive strategy. At one point, somebody chimed in, goes, You guys know it doesn’t really matter. If the video is really good, we can have all these discussions about the strategy, we’re going to have to get it seen, but it doesn’t matter.
We were like, Oh.

>> John Toba: Let’s give you an example of some of our exhibition and then nonexhibition‑related content.

>> Bret Nicely: What we’re about to show you are kind of the places where MOCAtv video kind of hits this Goldilocks of satisfying many needs at the museum, things that are mission central, mission driven, and also high quality and entertaining.

>> John Toba: So this is an example of how we took on the role of trying to create exhibition‑related content.

>> Bret Nicely: Probably the first try, after doing hundreds of videos about everything under the sun, doing something about a MOCA show.

>> John Toba: So there was a show called “Blues for Smoke.”   We tried to do a series of interviews with people, notable people, asking them what is the blues, or where are the blues today?
Here are a dozen or so people we chose. You may not recognize some faces. Kanye West, Henry Rollins.

>> Bret Nicely: The videos are important. They’re good. We’re happy that we have them. They exist, knock on wood, forever on MOCAtv and part of a record of this exhibition and these important people’s takes on the idea of the blues. They weren’t going to drive attendance or get massive views in themselves.
What they did do, I had the text, the transcript of each of these people’s interviews to draw from and try to generate excitement for the show. So we have a show called “Blues for Smoke.”   I can tweet out five Cornell West quotes or an entire long quote about what he thinks the blues is, and that becomes something that benefits the sort of marketing of that show. It’s this whole new well of content that you have at your disposal to accomplish your goals. That was an amazing thing.

>> John Toba: As Bret is saying, this was our first real attempt. Maybe not our most successful attempt, but we were learning all the way along, as we still are.
So here are some examples of other exhibition‑related content. I’ll briefly talk you through a couple of aspects of them.
Up at the top left, that’s a Marnie Weber, that’s an installation that is a group of kind of life‑sized, very scary life‑sized clowns with really unpleasant sound effects, quite kind of scary, disturbing sound effects. We made a very short, kind of impressionistic film of that, and ended up sending it out as a video Halloween card on behalf of the museum.

>> Bret Nicely: Really, the giggle of clowns video was not a social media asset, but it was a great nugget to deliver to our people in an e‑blast. We had planned on showing you a lot more videos. If we show you all of them we’ll be up here for two hours, and nobody wants that.

>> John Toba: I’ll keep talking. We won’t show all of these. The top right, there was an exhibition at MOCA last summer, we made a suite of videos in support of the exhibition. We made a curator interview, almost a walk‑through of the exhibition. We also made a ‑‑ one aspect of the exhibition was the artist invited 1500 people to the Geffen Contemporary and make their own clay sculptures out of hundreds of tons of clay brought to the museum. We made a really quite compelling time‑lapse video of hundreds and hundreds of clay sculptures.
What’s interesting about that, for us, was it was the first time we’d really made a whole series of videos exploring different aspects of one exhibition. We rolled those videos out over time. We were able to help promote attendance during a course of an exhibition that ran for several months.
In the bottom, Shatter Scatter, an example of a video made recently. It was interesting, it happened as a conversation in the hallways. Somebody mentioned to us that they were about to install this work downstairs in the next day or show. It’s a piece of work by contemporary artist Barry Levay, made of eight large pieces of glass that the curator smashes with a sledgehammer, in position, one at a time.
Someone said, That would make a good video.
That was the first time we had this in‑the‑hallways suggestion that that would be cool. We jumped on it, we did it, and it came out quite well. The curators were very happy about it and decided to put the link to the YouTube video on the wall Vine. The educators put the video on their iPads they use to walk around and explain to visitors what some of the art is about. That was a bit of a triumph.

>> Bret Nicely: I hasten to say the way we accomplished that was so dumb and simple. We made a URL redirect for MOCA/scatter. I love hearing what people are doing in gallery mobile, people in your staff whose job it is to do mobile digital.
We don’t have that. What we accomplish is like scratching ‑‑ the minimally viable product. I’ve heard about that term a lot recently, but it kind of describes the last eight years at MOCA.
>> John Toba: The bottom right video is, I think, especially interesting, Bret does too, because this was a ‑‑ we put aside a little budget to create a video in support of the exhibition by the artist Chris Johanson. He did not want to do any sitdown interview. He did not want to do anything traditional.
We paired him with a young filmmaker, really good, interesting filmmaker, the advantage of being in LA. They really hit it off and made this wonderful little fantasia film in the desert for two days. The artist was so happy with the film. It was a little poetic visual love story about how much he loves his wife. It’s really ‑‑
>> Can you show that?

>> John Toba: Sure.

>> Bret Nicely: The thing I love about Johanson, it falls on the spectrum about art or being art. We don’t know. He made artwork when we set out to make a documentary.
>> OK, Charlie, fill in the blank. 15 minutes can save you blank on car insurance.
>> 9%.
>> Wrong! Steve? Rick? Go to work.
>> Oh, not again.
>> Geico, 15 minutes could save you 15% or more.

>> Bret Nicely: MOCA just earned 15%.

>> There are some paintings in the show that I absolutely have no idea what they are even trying to say, and I’m committed to that, because I don’t want to know what’s going on with everything anymore.
There’s a time when I thought I did, but I don’t feel that way anymore. That’s a peaceful feeling. I’m just trying to make peaceful art, I’m trying to make unharsh art.
This show is definitely about the rhythms of life for sure, extend the river of life. It’s so simple, and I’m just happy to make simple art. That’s all that I want. Making these images in the nighttime I find to be holistic, calming and restorative, and this is the culmination of a specific body of work from the last ‑‑ that started about four years ago, and this is probably the end of this body of work.
You know, it’s like when you exercise, when you’re running or you’re riding your bike, it’s like that repetition.

>> Bret Nicely: We’re going to pause it, unless somebody really objects. The video goes on to be very dreamy, he’s drawing with his wife next to a river. It does end in the exhibition. The final shots are beautiful, steady cam shots of the install.

>> John Toba: If you want to watch it, it’s on the
We have lots more to share with you, only about 10 minutes.
Let’s just quickly talk to you about this is an example of nonexhibition‑related content, and I wanted to mention this specifically, because it takes these artists, who are part of the MOCA collection, and don’t currently have exhibitions at MOCA but are part of the collection. It takes this quite tangential and populist way of creating videos.
We created this series of videos, lyric videos with the director, Aaron Rose, again, LA filmmaker. The first three videos in the series were taking contemporary musicians, pop stars, and having them interpret the words of artists.
So Fab Five Freddie, Cool Kojak and Nasa created this rap track based on the words of Samo, the graffiti work. Then we had the lead singer of the punk band Rancid who took the letter Witt wrote to an artist ‑‑ eva Hess, yes, the letter was called “Learn to Say Fuck You to the World” and this punk band interpreted this amazing letter as a punk song and created the video using the artwork as a jumping‑off point for the animation in the video.
This is the third one in the series, a French artist, whose work Love Letter ‑‑ well, whose work is part of the MOCA collection, this work Love Letter, we got the rights from the estate and animated the work. The words were recorded as a song by the French pop singer Soca.
I’d love to show you a minute of this so you get a sense of it.
All right, we’ll move on.

>> Bret Nicely: Trust us, it’s good.
>> John Toba: Then ‑‑

>> Bret Nicely: Continuing on this, we’re giving a little narrative of MOCAtv videos, an activity that supports our core exhibitions, then nonexhibition‑related but still mission driven, things about our permanent collection. Now we’re going to talk about how MOCAtv expanded out even further.
This is an image of MOCAtv in the nondigital world.

>> John Toba: This is an example, we made a series of films called “Art and Crime.” An artist, Alex Lambert, who had done a series of work around crime. She worked with an animator to create these videos. This particular film is a four or five‑minute animated film and was selected as part of the Sundance, 2014 Sundance Film Festival in their shorts section.
That’s an example of how we sound that MOCAtv content could spread out into the nondigital world.
There are two presences that MOCA had at the Sundance Film Festival. We were chosen by YouTube to be representative of their sponsorship of Sundance. Before a lot of the feature films they played another one of MOCAtv’s short films. But there are other places where MOCAtv exists out in the nondigital world.
We’re about to have our first hour that you will be able to see on KTE nationwide.
We’ve been on seatbacks in Virgin in the air. There are various other places that our content is now aggregated and syndicated. Always, again, with the MOCA branding, the MOCAtv branding on it.

>> Bret Nicely: Another place that MOCAtv content is appearing is at MOCA. Imagine that. So this is hard to articulate, but it gets to what is part of MOCA’s DNA, the idea that we’re part of the artist. MOCAtv commissioned original artworks that manifest as web videos with a number of young artists working in the internet area, where the internet is not the subject of their work but it’s completely woven into what they do, it’s part of their aesthetic and part of their expression.
We bring those artists from this community we’ve sort of brought together and supported to the museum, and it’s a different kind of crowd than we’re used to having.
They do performances, we’ve had screenings.

>> John Toba: It’s basically a monthly, almost a regular monthly series of events, where we have this auditorium at MOCA that you can see, and we pack the house every time. There’s 170, 180, sometimes 200 people on the stairs, and the fire marshal shouted at us. It’s been a very successful series for us. Another way of taking this web video content and being able to drive public programming as another aspect of what we can do to further the work of the museum.

>> Bret Nicely: John and I are headed into the homestretch here. I want to quickly touch on measurement value, these themes that come up again and again. Honestly, as we are now just sort of getting our heads around how to do a digital strategy, how to really have a strategic plan as a museum, or having that be something that is part of our new leadership, we’re paying attention to data where we can.
This is a little bit of an ironic wink to things that are true and things we kind of already know.

>> John Toba: I don’t want to necessarily talk through this whole thing, but I would say that there are measurements that we look at just for ourselves, just to see how are we doing. What are we like, what are we not like? What do we think we can learn from?
We think the US‑global mixture of audience is quite interesting. I personally pay a lot of attention. We’ve been averaging a million minutes a month, over the 18 months we’ve existed. To me that means there’s a million minutes of people watching MOCA‑relevant content. That to me is an interesting benchmark. Obviously, we want to keep growing there.
Watch times, that’s a bit of a YouTube metric. Everyone is very, very interested how many people are watching? When we do create content that people are watching for 8, 9 minutes at a time, we find that quite rewarding.

>> Bret Nicely: As we wrap this up, these are two quotes about MOCAtv. The first one, I don’t know, yeah, maybe. The second one, we absolutely think accurately describes us. I would read it aloud, but you know.
We’ll talk about one last activity here that we think we couldn’t be more proud of, and that we think is an accomplishment. That last quote kind of getting to the mess, the highs, lows, everything MOCAtv has been, what it actually has also done is kind of embodied by what you’re looking at here. This is a video that has not come out. It’s a screen grab of a work ‑‑ I’ll let John tell you about it.

>> John Toba: In some ways, this is one aspect, one part of what we think of as being a culmination of what we’ve been able to do so far, something we’re proud of, which is that we set out to make a video with a local LA‑based artist. She was making this particular piece of work, and we worked with her for 2, 3 months to document the process of the creation of that work.
She’s an artist in the MOCA collection. The end of this process, we showed her the film, she liked it very much and said she would like to donate the work to MOCA. That was just ratified, the curator to the exhibitions committee, ratified a couple of weeks ago.
For us that is a new point for us, a new moment where we were actually able to what started off as making a bunch of web videos. It’s just another way of being able to integrate into the museum mission at large.

>> Bret Nicely: MOCA’s collection, like everybody in here, it is the foundation of the museum, and MOCAtv was able to add to it. I think that’s a great success.
In conclusion, what you’re looking at here, this is a little drawing by Kita Takahashi. Do you know the video game? It’s like that game, you roll around with garbage and get bigger and bigger and bigger.
One of the threads MOCAtv has gone in is an art and video games exploration. People have been talking about video games quite a bit this week.
We had a very good relationship with him. He made this little animation to ‑‑ not to sum up keynote addresses. We hoped to use it somewhere else.
MOCAtv is billed literally as the digital extension of MOCA, and I think what’s happened over the one, almost two years now, it’s become the digital expansion of MOCA.
We keep saying that. It’s expanded the purview of what we believe is MOCA content. It’s expanded the way we talked to our audiences. It’s expanded the tool sets and the ways we have to try to do our mission.
That’s ultimately what we’re happy about, and ‑‑ anything else?

>> John Toba: No. Thank you. It was very long, sorry.
>> Anna Chiaretta Lavatelli: We’re not going to let them talk at all, because we have so little time. We’re just going to slam them.
>> Jane Burton: Jane Burton, from the Tate in London. We make videos, I love the YouTube channel.
I guess my feelings are I’m going to be mean at first, then I’ll be nice. The mean bit is I think, what I’ve seen on the MOCAtv channel, the art is too often the jumping‑off point for an adventure in music, comedy or some other celeb‑tested thing.
That’s OK, but I think we can be braver about putting real art in front of people in an interesting way, and expecting them to connect with them. I don’t mean you can’t use celebrities or musicians. I think that’s great to do. But don’t lose the art.
Now, the nice bit, when you do put art at the heart of what you do I think you’ve got incredible films there. I love the one you showed Chris Johanson. I was looking at a really good Nan Golden interview.
How do we keep art at the heart? Realizing that video is more powerful than words, in this day and age, you look at what newspaper organizations are doing online, video is the first thing you see. We need to recognize that. There’s no point with text on the website as the first offer. Video is much more powerful.
We should be, all of us, making video in some form. But keep art central.
I think just a little example of something where trying to match celebrity or things people know with art can work is something we’ve done at Tate recently, where we had Jamina Kirk from the HBO series “Girls” presented a series called “Where Are the Women?”
She introduced a three‑minute film. We managed to time that with the HBO relaunch of the series in the UK. We had from that short film 72 pieces of coverage later done and tweeted to 1.35 million followers. Chelsea Clinton tweeted to her followers.
In terms of reach, people who heard about it, we estimate 23 million people heard about that film, and within two weeks 83,000 had viewed it, and that’s risen incrementally since. It’s probably about 200,000 by now.
That was genuinely connecting people with art, but using the tools of celebrity and known names to do so, and I think that’s very powerful. We can all think of ways within our institutions to do that. But let’s not lose the art at the heart of visual.

>> Dixie Clough: Hi, everyone. I’m Dixie. I work for the Smithsonian Institution. I don’t work with YouTube, although I do have a blog about it. Although, I am working my hardest to get them to change their YouTube channel. Stay tuned. Maybe by the end of the year we’ll have a totally different kind of channel at the Smithsonian.
My main thing, you said video views are important to you. I would argue they are very important, because of ROI. If you are going to fund a YouTube video, you should hopefully get people to see it.
I would think that the way to get people to watch your videos, you have to create content that people want to watch on YouTube. And YouTube, when they started this program, I think they were a little embarrassed about themselves. They were trying to get advertisers to pay for things, they thought they had to create TV‑style videos to get advertisers to put ads. Now I think they’re changing their minds, looking back at people creating home videos, and doing really, really well.
Just as an example, MOCAtv’s top six videos, the first one has over 2 million views. That’s the Bjork video. By the time you get to the sixth most popular video, you’re under 100,000 views. If you look at a really popular educational YouTube channel, meta physics, it is all about physics, not that excited. The most popular has 9 million videos, the sixth most popular 2 million views.
If you look at Negahega, he formed YouTube. He was on YouTube the instant it came on. He formed YouTube and one of the reasons it is the way it is today. His top video has 52 million views. His sixth most popular video, 22 million views.
So I would say video views are very, very important, and in order to get those video views doing videos that are in the style that people want to watch on YouTube, the style that metaphysics does works for museums fine. Educational channels are really popular on YouTube.
I would argue video views are important. When I hear they aren’t important, it’s like the fox with the grapes. We didn’t get them, so, you know what, they weren’t that important.
That’s my view on video views. But I do have to say, a lot of your videos are gorgeous and beautiful and really great work.

>> Ted Forbes: Ted Forbes, head of digital media, Dallas Museum Of Art.
That was really cool. You deliberately mentioned at the beginning Art 21 does what it does great. You went into this with a real intentional, really purpose to do something really different, you have definitely done it.
I think, not to turn it into a super critique, but I agree with my colleagues, particularly Jane, I felt like sometimes when I was watching in preparation for our panel discussion I didn’t understand it was even an artist in the collection that did the Bjork video. It’s fabulous, but it’s about Bjork.
At the same time, you don’t want to turn everything into the studio visit and artist stuff. Sometimes I was failing to make the connection, particularly with the comedy stuff with Fred Armisen. With most institutions, most people, speaking for them out there, we have mission statements, as you do, usually that has some educational thing that has to fall into it as well. Making that connection is really important.
To follow up on one thing Dixie mentioned a second ago, you were talking about this too, it seems like measuring engagement is certainly one thing we discuss ad nauseam, all the time, and it’s fascinating. But stuff that I’ve done in my personal work too on YouTube even, you have kind of this golden stat, which is the view. It’s the way we measure that engagement.
I’m not pointing this at you or anybody in this room, most museums, I will admit my institution as well don’t do very well with YouTube. It’s for a number of reasons. First, YouTube has a social component. They were talking about the merging with the Google Plus, and most museums don’t engage with their audiences on YouTube. They’re looking for subscribers, looking for views, but Dixie mentioned with a lot of these channels that do well, they do well with audience participation, speaking with the audience. Not look at me, what we’re doing. It’s a two‑way dialogue.
Speaking for the DMA, we don’t have someone following the comments. I would love to talk to you personally about this later, but looking for everybody in here to think about this, what we’re looking for in terms of analytics with YouTube, what is the end ‑‑ not the end‑game result, but what do you want to harbor and foster on YouTube?
Is it just view counts? Just subscribers? I will politely argue with, the ROI of a video may cost, I’m sure you spent a lot of money on videos, you don’t have to. Everybody should make a video. You can make cheesy videos with a webcam. Your content is good, it’s good.
Let’s say you sink 7,000 into a video. What are you looking at the next couple weeks or months? The ROI terms on YouTube, this is not unique to me, a lot argue this, it’s much further down the road. It’s the sum of the parts that create the whole.
I’m sorry we have ‑‑ you have mics too. I will leave with this: I am also curious about the production size of the team. You said it tripled to three. I assume that’s in addition to you guys. Are you actually shooting the video? Who’s making it? That is the question.

>> John Toba: We use a lot of out‑of‑house resources. The actual full‑time staff is me and Emma, two of us. Then we have an editor that we work with almost full time, who ‑‑ we basically are like everybody else, we have one 5‑D and one tripod, one good sound recording device, and we’ve made a lot of stuff ourselves very, very cheap.

>> Ted Forbes: The Bjork video is on that setup?

>> John Toba: No.

>> Ted Forbes: Sorry, busting you on that.

>> John Toba: That was a marketing exercise.

>> Anna Chiaretta Lavatelli: My name is Anna Chiaretta Lavatelli. I’m currently working out of Balboa Park in San Diego, with the Balboa Park Online Collaborative. Soon I will relocate to the Museum of Contemporary Art Chicago, where I’m hopefully going to have the opportunity to really rethink video production at that museum, because I’m sort of going to go straight into my YouTube pitch, then rag on you guys a little.
One of the things that is really important to the YouTube experience is the way we move through YouTube. It’s a modular experience. We’re constantly editing our own video. By the way, we jump around, 10 seconds here, 30 there, 20 minutes there. We’re moving through all these videos.
When I was rewatching some videos on MOCAtv, because it had been a while since I’d been on there, I found myself still skipping around, because that’s my natural way to move through the internet. It’s a scanning process, less of a viewing process. Not Vimeo. There I sit down and watch a video straight through. That’s a filmmaker’s website. I don’t know why some museums still use it. It would be great for documentaries or artist videos. YouTube is better suited for the content we’re producing, educational, interactive, promotional. But to push the interactive version, YouTube has a lot of features that museums aren’t monopolizing on.
The transcription and translation features. Did you know that you can invite someone to translate your video? All you have to do is type in their e‑mail, then they get to go in and edit the YouTube auto translate. Same thing for the transcription. First you go in, you look at the transcription, change “amazing” to “very amazing” as it should be, then to the edit, save the transcript, invite someone to translate to Spanish.
There are really robust speeches YouTube developed that I think are what we should be looking to, as opposed to to trying to look like a television station , because most of us don’t have the budget or the backyard filmmakers who are so intrigued and excited about MOCA that they’ll just make you a really sweet video and go hang out in the desert with Chris Johanson.
We’re working with what we have, which is a 5‑D and wireless mic if you’re crazy, wired if you’re smart.
So we should be thinking about modular video, nonlinear experiences. There was a session that I can’t wait to watch documentation of, about nonlinear storytelling, and I think the museums could really benefit from that, as well as rethinking the model. We don’t need to be making flashy, exciting, pretty, view‑friendly videos or really brilliantly produced Art 21 high‑budget videos.
There’s a whole way of making video we haven’t even realized yet. And I’m really interested in seeing how we can better use cheap, crappy equipment to not try to make something that looks like Art 21, but to make something that speaks to the voice of the museum. Just like we don’t tweet just our events, right? You don’t want to say, Oh, come to the lecture tonight 7:00, blah, blah, blah. You have a personality. Video can be part of that personality.
I’ll stop there, because I can just ramble forever. So for MOCA, I agree with Ted. Ted and I have been talking about it. We were talking first how much we like the videos, but thinking back to how unrealistic the model is. It doesn’t fit into the reality of most museums. So we need to really work together to talk about what video could be.

>> Jane Burton: I also think there’s a bit of an issue about doing too much. MOCA guys are talking about five videos a week. Tate we put out far too many. We all need to do a bit less, but better. Perhaps there’s an argument for saying put all your budget into three videos, but make sure they’re brilliant, viral, and will endure with that long‑tail view. You get them into views.
It is possible for everybody to make brilliant videos if you really think about them and pool your budget around one or two absolutely cracking ideas, and don’t try to publish every week.

>> Ted Forbes: I have a question for you guys. This is I’m interested because when you started it was 2011, and the partner thing, back then to be a YouTube partner, I can’t believe it’s two years ago, it seems in YouTube years it’s two decades. At that time you had to be invited to be a partner to get certain features. At the time those were things like showing the screen shots, custom background image, the header.
Now, two years ahead, that’s changed quite a bit. If you have a YouTube channel and in good standing, I echo that, because people like to steal music a lot, that kicks you out of good standing. If you are in good standing they open features like live stream. However, you have features now with live streaming, and that’s available to anyone. You can sign up for a YouTube account, within three months they give you most of those.
How has that changed for you guys? Is it different? Frustrating?

>> John Toba: It’s not frustrating. I think you’re right, and I think it applies to everyone that wants to start a YouTube channel now.
A lot of the advantages we were given as special is available to everyone. We use the YouTube studios a lot. But they’re building those studios in New York, London, Tokyo, and I really strongly advise you to check them out, if you can, if you have any way in which to visit, because you only need I think the number now is currently 10,000 subscribers.
Everything, all the demand is coming down, as far as YouTube really, really trying to be helpful. And to be really honest with you, we thought YouTube were going to be incredibly helpful to us at the beginning, and they actually weren’t that helpful. So you’re not getting anything really that we weren’t getting.

>> Ted Forbes: That comes also back to the interest in statistics. When I’ve spoken with people who work for YouTube, they’re figuring this out too. What is that standard measure engagement?
If you don’t know, go look at your YouTube analytics. They give you a ton of stuff, everything from how many watched your video, how long, where they came from. It’s fascinating what goes on in there. I don’t think we’ve defined it yet.

>> Bret Nicely: I want to jump in with a suggestion that the Original Channels initiative is what gave birth to MOCAtv. It was a ‑‑ we said we thought it was a strange fit. It immediately sent us off on a direction we weren’t going on about. I encourage you all to look up the Original Channels Initiative on YouTube now. You can’t. They’ve scrubbed every mention of it from their website. It was an experiment they did and moved on from. I have to say that the spirit of the experimentation, seeing how this is going to work, we were caught up in that. We made 400 videos, but it’s still a learning process.

>> Anna Chiaretta Lavatelli: I wanted a chance to respond to Jane’s comment about having a filmmaker perspective, because I love to disagree with that.
I am a filmmaker, and I love making beautiful video, but I hate the idea that museums can only make video like that. I do believe less is more, and that to really put the thought in and put the preproduction time in thinking why you’re seeing what you’re seeing, not just grabbing the camera, running to the gallery and shooting and really poorly lit, crappy colored environments, with crappy cameras and no microphone.
But there are really great things you can do with an iPhone, a mic adapter and tripod. I think that I was watching the Twitter and one of the things that made it so successful was the regular output, having like a TV show, a regular upload.
Thinking about also the nature of YouTube is a lot of response and parody videos were constantly dialoguing on YouTube. There’s comments fields, and having a filmmaker beautiful video on YouTube doesn’t speak to that language, to that context.
If you were to work in a more informal, modular, not necessarily blog, not saying crappy webcam on the computer, to open the experience and the chance for people to appropriate, to converse, to dialogue, and that is so well‑suited for YouTube.
One of the other projects I worked on in Balboa Park was conservation reel. We’re still in soft launch and getting more partners, hopefully with Getty shortly, but the idea is a space for dialogue, for professional conservator, because YouTube suits itself for video responses Google Hangouts, the capture editor.
It’s all about accessibility, and that’s a language that is OK. We don’t need to be stuck in a filmmaker’s language or even looking to video arts. One of my favorite videos on MOCAtv is the Alex Bag video, mostly because it’s mostly her original videos, which are amazing. But it’s just like that kind of material is so crappy and so great. And that’s OK.
Because the content is so good. And really thinking about content and how you can best use it, in an interesting, different way, not trying to look like a well‑produced video.

>> John Toba: Maybe that was the thing we were given was this opportunity to try lots of different things and failed.

>> Anna Chiaretta Lavatelli: That probably is the coolest part, because no video is like another. You can dig in there and that is actually what I appreciate most about MOCAtv, subscribing, getting a little note every so often, My God, what the heck is this? They do this?
>> All right.

>> Anna Chiaretta Lavatelli: Sweet, I got in the last word.
>> Let’s hear it for video R & D.
>> I hate to cut off the discussion. The good news is the discussion was going well on Twitter, so both for and against. So take a look there.
I’m going to do a little bit of closing for the conference.
I think that was really great. Let’s give these guys a big round of applause.
So a little bit of remarks. This year, the last 12 months, 2014, part of 2013, has been kind of amazing with the amount of support that we’ve gotten from the community.
We wouldn’t have been able to do two deep dives, four conferences throughout the last 12 months. We have seen 1250 colleagues for discussions like this.
People often ask how we do it, and we work hard. It’s a labor of love, but really we couldn’t do any of it without all of the effort that many of you put in and invested in maintaining this community.           Particularly we’d like to thank Neal Steimler for social media. Anna Chiaretta Lavatelli for the camera, making sure most of this stuff is up and online. Amazingly, the amount she can get up. Susan Chun, our publisher. Bruce Wyman for more favors than can be counted. Vince Deacon, for the MWX exhibition.
Parts of the app you’ve seen, the stuff you’ve seen as you went around, to show us how to use technology in other creative ways using art.
Our appreciation for Jenny, Dan and Mark for the art inspirations. Rob Lancefield for the help with the old Jenny Holzer computer out there, I don’t know if you saw, with the change beliefs that worked from online from 1997.
We’ve had our Program Committee helping, the Best of the Web Committee led by Kajsa and Bruce Wyman. All of the work you guys have done presenting, nominating websites, helping with the local arrangements, chairing the sessions, leading the tours, teaching the workshops. Volunteers doing all of the work to get it going.
Of course, none of these meetings would have been able without the support of sponsors, Axiell, MailChimp, Valerie, Piction, Xbloc. Particularly for the scholarships we’ve been able to give this year doubled. We’re excited about that.
It’s made more people than ever able to attend Museums and the Web. 700 people at this event over the last few days.
Of course, to Story and Chris Smith for the MW 2014 app, Johns Hopkins Museum Study Program for supporting the transcriptions of the selected sessions. The Railroad Museum. And I’d also like to personally thank Nancy for her amazing work in assembling another amazing program.
Titus. Titus for all the website work so far and the new and improved site we hope to have by the end of summer. The accounting behind the scenes. The work done behind the scenes to make the conference successful. Putting up with me, Nancy and Titus all those months.
We hope you join us in the future at one of our other events. We’ll have a pavilion at AAM May 18‑21, with support from Axiell; Museums and the Web Asia 2014 October 8‑9 in Daejeon, South Korea; Museums and the Web April 8‑11 in Chicago, 2015.
Thank you, guys. Thanks, everyone.
>> Anna Chiaretta Lavatelli: If there are any presenters who haven’t given me their PowerPoints, you should give them to me.pril 5, 2014

[Ended at 5:00 p.m.]