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Presented at the conference "Mobile Communication and the ethics of social networking” in Budapest (Hungary) on 25-27.9.2008.
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The first social media platforms were designed for individuals to communicate with other individuals, before businesses and organizations got involved. Now that every platform contains millions of competing voices, ranging from our grandmothers to multi-national corporations, how do museums bridge the gap between representing themselves as exciting, diverse institutions and interacting with audiences on a personal level? How can we talk to people in useful ways without trying to shout louder than everyone else? The answer is by creating a unique and effective institutional voice. But is this voice meant to be friendly, irreverent, hilarious, inviting, educational—or all of this at once? Should we try to teach people or make friends? Can we do both? Short answer: yes! But then how do we navigate sharing high-level curatorial writing, marketing and promotional posts, community-oriented posts that engage our local audiences, and participating in cross-museum campaigns, while also factoring in administrative requests to “be funny” and “go viral”? Will trying to do all of this at once make us seem dangerously unhinged? Just as museums are (and must be) many things to many people, all different types of content are related, regardless of what voice is used, because all voices represent the institution. I will explore the concept of institutional voice as a multitude of related voices and examine if it’s possible (or desirable) to maintain consistency across platforms when multiple people manage social accounts. I’ll also explore the relationship between digital institutional voice and the voice represented in signage and curatorial labels. Much of our energy is spent trying to get people in the museums doors, but how does digital institutional voice carry over when they get there? Like a bad Tinder date, is there a danger of museums not living up to the promise of their online personas?
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Employees who are engaged with their brand and passionate about it will spread that enthusiasm when they share about it online. According to Gallup, 50% of employees are already sharing about their company on social media, but without any guidelines or training. Innovative enterprise brands, like CDW, are embracing Employee Advocacy to empower their employees with the opportunity to build relationships at a massive scale
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Presented at the conference "Mobile Communication and the ethics of social networking” in Budapest (Hungary) on 25-27.9.2008.
The role of virtual currency in MoSoSo applications
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The first social media platforms were designed for individuals to communicate with other individuals, before businesses and organizations got involved. Now that every platform contains millions of competing voices, ranging from our grandmothers to multi-national corporations, how do museums bridge the gap between representing themselves as exciting, diverse institutions and interacting with audiences on a personal level? How can we talk to people in useful ways without trying to shout louder than everyone else? The answer is by creating a unique and effective institutional voice. But is this voice meant to be friendly, irreverent, hilarious, inviting, educational—or all of this at once? Should we try to teach people or make friends? Can we do both? Short answer: yes! But then how do we navigate sharing high-level curatorial writing, marketing and promotional posts, community-oriented posts that engage our local audiences, and participating in cross-museum campaigns, while also factoring in administrative requests to “be funny” and “go viral”? Will trying to do all of this at once make us seem dangerously unhinged? Just as museums are (and must be) many things to many people, all different types of content are related, regardless of what voice is used, because all voices represent the institution. I will explore the concept of institutional voice as a multitude of related voices and examine if it’s possible (or desirable) to maintain consistency across platforms when multiple people manage social accounts. I’ll also explore the relationship between digital institutional voice and the voice represented in signage and curatorial labels. Much of our energy is spent trying to get people in the museums doors, but how does digital institutional voice carry over when they get there? Like a bad Tinder date, is there a danger of museums not living up to the promise of their online personas?
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Hi everyone! Welcome to the slides for Digital Careers at a Crossroads: Next Steps and New Paths. Elissa, Max, and Chad presented this talk at the Museum Computer Network’s 2016 conference in New Orleans. This was an exploratory session, meant to pose questions and problems, but we don’t have the answers just yet. Maybe you do, though, and if you do, feel free to reach out to us on Twitter.
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If you want to stand out as a game designer, and land the job of your dreams, having a portfolio of your work can certainly go a long way. Games are highly visual and a portfolio is a better way to display your experience. Here are some reasons why every game designer should create a portfolio of their work and how to make your portfolio stand out from all the rest.
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Hi everyone! Welcome to the slides for Digital Careers at a Crossroads: Next Steps and New Paths. Elissa, Max, and Chad presented this talk at the Museum Computer Network’s 2016 conference in New Orleans. This was an exploratory session, meant to pose questions and problems, but we don’t have the answers just yet. Maybe you do, though, and if you do, feel free to reach out to us on Twitter.
Digital Careers at a Crossroads: Next Steps, New Paths
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Max Evjen
Kerja kursus ting.4 (ict)
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Nor Shamsiah
Presentation on using the Discovery Bus to develop a new field of research, "Meta QSAR" the comparative study of QSAR modelling methodology. Given at UK QSAR Society meeting at Syngenta October 22nd 2009
Meta QSAR
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If you want to stand out as a game designer, and land the job of your dreams, having a portfolio of your work can certainly go a long way. Games are highly visual and a portfolio is a better way to display your experience. Here are some reasons why every game designer should create a portfolio of their work and how to make your portfolio stand out from all the rest.
Game Designer Portfolio: Why Every Game Designer Should Have One And How To ...
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To increase employee engagement, after conducting an employee engagement survey, meet one-on-one with each employee you manage. This is one of the first steps you can take to improve engagement. This presentation offers questions to guide your conversations with employees. The questions are organized around the six drivers of employee engagement. Go to www.SheilaMargolis.com to learn more about employee engagement.
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This is the talk I gave at FunctionalConf 2016. http://functionalconf.com/
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Digital Careers at a Crossroads: Next Steps, New Paths
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パタンランゲージからプロジェクトランゲージへ
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L’implantation d’un système de gestion documentaire
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Copyright and piracy from moral and legal standpoints
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