Way back when we began this series we said, “A content management system is the heart of the online experience of a business or institution”. When we said “heart” we really meant middle or centre. To really be a heart, a CMS would have to connect the flow of lifeblood in the organisation together and keep it pumping. A heart is neurologically dense, connected to the brain and the gut. A heart is where we metaphorically feel our feelings.
As content management matures, the CMS gets closer to being an actual heart of the organisation. We won’t belabour the metaphor, but the parallels are pretty clear. A CMS which doesn’t follow 4th Generation principles feels more and more sclerotic as we head further into the first quarter of the 21st Century.
This week, we kick off a series of blog posts to summarise what we found out about what a Fourth Generation CMS will need. It will be a very different beast to a lot of what we currently think of as a CMS.
The most solid, long-lasting structures are those that are built thoughtfully out of the best materials from their bones outward. No shortcuts, no hacked solution piled upon wobbly hacked solution. A website built in Django -- like the one we built for woody.tv -- is like that: strong from its core, and nimble, ready to go in any direction.
Timezones are tricky. They make it uncertain that certain times of day can occur in certain places. They can make the same time happen twice in a day. And to boot, they're always changing, flying in the face of common sense. But when a website is accessed by users around the world, ignoring timezones can create even more havoc.
How do you bring data visualisation into your organisation? Who are the right people to assemble into a team? Chances are, the skills and resources you need are already part of your organisation, ready to amplify the value of data in the day to day.
Our project for SFMOMA is underway, which means the next generation of GLAMkit is well and truly in the works. GLAMkit is the IC’s content platform for galleries, libraries, archives and museums. It’s our goal to make it the best GLAM content platform in the world and with that goal in mind, big, exciting changes are coming. We caught up with our CEO, Greg, to get the inside scoop.
Maybe you remember the interview with me from last year on IC’s website. I’ve been working as a researcher in Futures Studies at Queensland University of Technology until recently and in the last couple of years I’ve been running a consultancy called “Action Foresight” with my two friends José Ramos and Gareth Priday.
Sounds a bit complicated, right? When people at parties ask what I do, I tend to say I’m a futurist, but people often aren’t certain what I’m talking about. I don’t, for instance, mean I’m a member of an Italian art movement obsessed with racing cars and war.
If my questioner seems keen, I might add that I’m an interdisciplinary researcher who uses techniques to track, study and understand long-term patterns of change in society. As a consultant ...
We pulled out all the stops, and from the front-end design to the back-end development, we did the entire Ministry of Sound project in house. We think it turned out pretty sick. (Sick meaning cool, not sick meaning ill. Do the kids even say that anymore? Better run it by Ministry of Sound).
Hear that? That’s the sound of another carefully-crafted website - Bundanon Trust’s website, in this case - leaving the IC nest. With its satisfying mix of rich content and meaty technical challenges, this website was the quintessential IC project, and we’re really proud of the result.
Digital is changing everything. Head of Digital, John Stack of Tate London, tells us how the museum is taking advantage of this huge opportunity, and giving audiences what they've grown to expect: the chance to participate.
Can technology be used to deepen and extend our capabilities or is it simply going to be used to make us more like couch potatoes? According to futurist and inventor, Mark Pesce, the answer is up to the designers and the users.
How does a museum keep audiences interested when it's closing its doors for three years? Keir Winesmith, Head of Web and Digital Platforms at SFMOMA, tells us what it's like to be part of rebuilding something that's "like...a seven-storey football field worth of art and storytelling in the middle of downtown San Francisco."
We see briefs from potential clients all the time. Some are fantastic, and some are a bit...lacking. In the hope of creating a future packed full of pithy, information-rich briefs, we've put together a primer on how to write the sort of brief that will help your developers (us!) build you the website or piece of technology that before now, you've hardly dared to dream of.
Our world is being filled with technology that's mediated by programmers writing code. Sydney's favourite geek Evan Predavec talks about how incorporating programming into the school curriculum is essential to preparing our children for the future.
Integrating technologies can be a complex challenge, and working with great partners can make all the difference. Read about how we worked with collections software managers Vernon Systems on our work with AGNSW and MCA to achieve very different things for very different clients.
Has the pace of changing technology caused us as a society to enter into a state of future shock? Futurist Tim Mansfield talks about our ability to cope with change, and how Facebook is allowing us to recreate the village square.
What does the web mean for institutions that are so tied to their physical spaces and objects? What is the function of a museum today? Museum technology theorist Suse Cairns talks to us about engaging audiences and the marriage of the physical and digital museum experience.
"Together we can create far more than we can in isolation" is the mantra of Jason McDermott, new media artist. Jason talks to us about his collaborative works for the Vivid Sydney Festival, and bizarre and surprising audience behaviour.