Enhance Museum Collections Online with “Hidden” Troves of Information

Hello, everyone, and thank you for joining us for today’s webinar with Rachel Cristine Woody. My name is Bradley, and I will be your moderator for this webinar entitled enhanced museum collections online with hidden troves of information.

Before we start, I would like to provide some information about our company and introduce today’s presenter. Lucidea is a software developing company specialized in museum and archival collections management solutions, as well as knowledge management and library automation systems. Our brands include Sydney, Presto, Argus, Arcivera, Eloquent, and Quadrastar.

Now I would like to take a moment to introduce today’s presenter, Rachel Christine Woody. Rachel is the owner of Relacura and provides services to museums, libraries, and archives. She specializes in museum collections management systems, digitization technology, digital project management, and digital usership. During the course of her career, she has successfully launched multiple digital projects that include advanced digitization technology, collaborative portals, and the migration of collection information into collections management systems. She’s also a popular guest author for Lucidius think clearly blog and has provided us with many way great webinars that are listed on our website. So please feel free to check those out after today’s session. Take it away, Rachel.

Great. Thank you so much, Bradley, for the introduction. Thank you to Lucidius for hosting us, and, of course, for you, the audience, for attending.

Today, we’re gonna cover the head intros of information that can help inform and enhance our collections online.

And so we’re gonna cover first the gaps of, information that can exist within our own object catalog.

We’ll then take a look at information that already exists and is available for our immediate use, as well as new information and certain activities that, happen throughout the course of our year at our museums and cultural heritage organizations that can create that new information that we can use to help enhance our collections online.

We’ll then spend a moment talking about archives because archival collections are so rich in additional information that we can use to help inform and better understand the object and its particular interpretation.

And then we’ll go through an example of how an archives collection can enhance collections online just in case those of you who aren’t quite as familiar with archives are working with archive collections, you have sort of a real world applicable example for us to take a look at. And then of course we’ve got some additional reading if you want to do a deep dive into any of the topics that we’ve covered today and, end our webinar with resources.

So getting into it, considering the gaps that can exist when we are talking about object cataloging within our collections management system, there are two main categories.

The first category is where the data exists, like there’s actual information in the field, like a description field, date field, classification even, but it can be expanded upon so much as is very common for many of our museums and cultural heritage organizations, past practices, staff transitions sometimes means that our object catalog is not always the, most detailed or the most complete.

And so there can be and often are many cases where we’ve got like skeleton information for our objects but really there’s there’s more that we know about it and there’s certainly more information that we could capture that would help us better understand and provide access to those particular objects.

The second main category of where gaps can exist is when there’s a complete absence of a field and of that particular category of information.

So for example, if we’re doing sort of sparse cataloging and we’ve got like the basic quote unquote standard information in there, there are additional other fields that are sometimes considered, optional in terms of if we have the data great, we can add it in there. It helps to improve that object and the use and understanding of the object, but perhaps we’ve just not had a chance to go back around to capture that information. So two main areas, one where data exists, but it’s very sparse and can be added to. And then the second area being where there’s just no data for that particular area of the object, and we can add it as new data.

Alright. And just a refresher, most of you are probably very familiar with the different fields that we use as sort of the standard fields when we do object capture.

These are taken from the cataloging cultural objects standards or CCO, for those who are familiar with using the CCO standards.

Even if you are not using CCO standards, and perhaps you’re using National Park Service, museum handbook standards, there is obvious overlap in terms of what types of information is captured and what types of information are considered standard and required. So, the particular parentheses with the numbers like one point one that is referring to, in this case, CCO standards one point one, so chapter one first standard kind of thing. And in here we see there’s the the usual suspects. We have object name as the the first and main required item. Sometimes object title, especially if you are in an art collection, there’s a difference between object name versus the object title.

The next most often is creator or and like that creator role for us it usually is the actual creator, for example, the artist, or perhaps if you’re a specimen collection it could be the scientist or researcher, And then if you are doing more object based, there may be like if it’s furniture, it may have been like the furniture maker, for example.

We capture creation date just to get a sense of the age of the object as well as help inform style and materials available at the time. We’ll talk about work type and as well as measurement or dimensions is, the other main word used to capture, like, the total size of an object.

We’ll cover materials and techniques, description, and classification, helping to describe the object and apply, certain standard vocabularies to that description of the object, and then current location and subject. Subject, of course, helping with keyword access and ability to search on a topic versus for a specific item.

So these are the fields that we will usually use and that are usually always at least a little bit populated within our particular collections management system. And for that first gap area where data exists, the data will most likely exist in these fields, and yet these fields are still ripe for assessment and perhaps adding more data, performing data enhancement to these areas.

So shifting now to information available for immediate use and so this particular area is where the information has already been captured or created in some form that we could very easily go access and then apply to our object catalog.

The main sources for this immediate information is first and foremost accession paperwork.

Pretty much every museum I’ve worked at and been to has a large trove of accession files, physical files, that are just full of all sorts of physical documentation for that particular object.

Sometimes those are scanned in or the information is at least transposed into the catalog.

Oftentimes it is not though, and so checking out that accession paperwork especially since more than just like the donation form or the acquisition form is in there. There’s quite a bunch of other information that could be very helpful to you. Another major area is articles, whether that is articles that have originated from your museum or from one of your curators.

There are other articles that could be applicable written by other scholar scholars outside of your museum that could help inform your object collection, even if your specific objects weren’t necessarily the subject of the article. The article itself, either talking about the creator or talking about the time period, the types of objects, etcetera, if it has application to your objects, it can be very helpful to reference.

Another source is auction catalogs, and they can be used in two ways. So auction catalogs, if your museum has actually purchased from that auction house and has kept a copy of that auction catalog for purchase, having that purchase listing can be very informative at least for, provenance and like pre museum type data.

And even if you did not purchase particular objects from an auction catalog, auction catalogs still contain some great information that can be applied towards your object collections.

For example, having comparables, comps, doing any sort of both value comparison as well as just general condition comparison of your objects. In addition to descriptive information, share creator information that could also be gleaned from auction catalogs. Again, even if you’ve not necessarily purchased your objects from that particular auction catalog.

Another gray area is books. Just given the nature of book publication, it’s not necessarily like cutting edge research.

Not that our particular field, is necessarily always prioritizing the immediate research, but that’s all to say that books that come out keeping an alert and an eye out for those books as they do much similar to articles even if it didn’t originate from your museum or from museum, the curators that you have in house can still have influence and can help inform your object collection.

Encyclopedic references and especially those that are references created for curators and collections managers, even archives that help to spark encyclopedic references can be incredibly helpful.

Exhibit catalogs, especially your own exhibit catalog text and description of objects, especially those in the past years, usually do not make it into our collections management system and yet can be so incredibly helpful in adding that additional information into the CMS.

We then can take a look at previous card catalogs or inventories.

As we know we’ve not always had collections management systems or computers or the internet for that matter and so any previous work for museums especially museums who are decades if not a century or two older you will have tons of physical materials that were created pre computer that helped to inventory the collection, helped to describe it, and helped to the best extent possible at that time provide information on your objects functioning as close as they can to the catalog that we know today.

And then any other sort of scholarly work so of course this could be scholarly work already done previously by curators in house or collections managers, previous researchers, fellowships, who may have come in your museum and produced work that could then be applied to your objects. So again thinking of these sources that they already exist there’s already the information in them and going out seeking that information and then capturing it as you find appropriate into your collections management system.

And then where to find those sources so you may not always have a library attached to your collections department or even in your museum, and you may not always know where some of those accession files or scholarly works may be hiding.

So here’s a list of like the usual places where one can find those types of materials.

First stop at least in my mind is always the curatorial offices those people will be the most in the know of what recent sort of scholarship or literature has come out that is applicable to the collections as well as knowing of course any sort of scholarly work that they have put forth in the recent years that could also well obviously uses and references the collection and could also be applied to the collection in the CMS.

The next stop is then Executive Director office. They may not always have like all of the particular like encyclopedic references or scholarly works, but sometimes that is where like session files are kept, any sort of previous provenance documentation, perhaps even like auction catalog sort of information, that type of data will typically reside in the executive suite.

Another great stop is the exhibitions office especially if your museum is a bit larger where there is a separation of curatorial from actual exhibit design and exhibit execution and that particular office can have great past materials of description panels, object labels, even pre pulled object lists from past exhibits all that could help enhance your object data in your CMS.

And then some fun other places that aren’t necessarily always obvious, the object storage area.

There’s usually some great material kept in there whether intentional or not that’s usually where I will find previous existing object inventories or indexes.

That may also be where I find previous condition reports, any sort of paperwork that didn’t necessarily lend itself to living in like the collection management office or the curatorial office for example.

That can be a great place to to go check out And then of course other areas museum archives or library if you have those in house amazing definitely go and use them but there may also be archives and libraries outside of your museum that have collections that could still help inform your object collection.

So especially if you don’t have archives or library in house for your museum, I recommend doing a little bit of research and canvassing where there’s other peer collections that you could go and check out.

And then the registrar collections manager office so that could be your office as a collection steward.

If you have more than one staff member that could be multiple different offices to go and check previous file cabinets etc.

I can’t tell you how many times there’s been staff transitions at a particular location I’ve been working in and there’s file cabinets that like when the new staff person started they looked at the files and then like never again. And so those sorts of files can sort of lurk in those places where they’re like they’re in sight and yet you’ve not looked at them for years. So sometimes checking your own office, checking those file cabinets, and checking the file cabinets of your office needs can be another great location for those files.

Okay, and then where to apply that information. So there are multiple different things that we have advocated that you can go and look at and get the info. We have then also covered like where do you even find that info in terms of like the location of where that information resides.

Now where do we place that information?

First and foremost accession record. If your particular CMS is set up and as is typical there’s usually an accession record and then an object record so creating that accession data further filling in concepts of provenance filling in any sort of like pre museum acquisition type info all goes into this particular area of your CMS.

Another great area to update is condition especially if you have found previous condition reports and having those loaded in so you have a much more thorough condition history for your objects that’s another great place where data enhancement can occur.

Description and materials so great further information you can add from scholarly works from the previous exhibition panel text that can help inform what you are then putting into the description and material fields.

Provenance specifically and especially if you’re not necessarily using that accession record area having a provenance area at least for your object record to help capture history of ownership can be very important.

Past purchase price also especially if we’re thinking about comparables we could fill out past purchase price as well as knowing pure objects that have been acquired at different times and for those different values.

Related items can be pretty much anything related whether that is related to another object perhaps more interesting related to like archive collections related to different bibliographic works so thinking more like literature references those can provide further data enhancement in those areas.

And then of course styles and techniques the more we learn about the creator or the particular genre or art style the more we can inform in here especially the type of styles and techniques used for the particular object you are enhancing.

Alright, new information to enhance object data. So moving away from the it already exists info ready to go to like as we go on new information is created in a typical cadence and where to pay attention to those things to help inform the catalog.

So curatorial submitted content so this is like from now moving forward curators by the very nature of their job are usually always content creating on something whether that is creating an exhibit, creating the catalog, creating articles or scholarly works, writing books, so much content creation and all of that can help inform your collections management system especially because most of the works are typically based on objects that your museum owns.

Another great area of constant content creation is of course the exhibition area, so thinking of panels thinking of object labels there is always information that is usually added to those at time of exhibition that are not in the CMS and yet could be very easily added.

Any sort of staff research and work so in addition to curatorial that where they naturally do that sort of research and work there’s also great research and work done by archivists, by conservators, by yourselves as registrars or collections managers that may not necessarily be a scholarly book and yet still be incredibly informative to the objects that are under your care.

We We then have moving from now forward any future conservation assessment or treatment reports that can be added into our collections management system as well as any sort of external acquisition source so for new objects coming in having information from that external source having that better fill in the concept of the accession record as well as the provenance.

So for that new information to enhance object data this is what we’re looking for and is perhaps more familiar for our collection steward vernacular. We’re looking for appraisal information, we’re looking for things to add to catalog memo, so things that wouldn’t necessarily fit into any other field other than the this is internal information for this object as we’re cataloging it, perhaps notes on where we’re finding the data, maybe we’re not one hundred percent certain about a particular thing, but yet it is highly likely catalog memo is a great place to put that sort of supposition any sort of comparisons so comps can be added in condition the concept of a curatorial memo so similar to catalog memo which is mostly information coming from you as the collection steward curatorial memo can function in a very similar way from a curatorial staff member who again maybe they’re not one hundred percent that the object is from this particular creator and yet here is evidence from these places that lead us to believe that it is most likely.

Exhibit label and exhibit panel text taking those you can create specific fields for those or have them help inform the existing fields most often description.

Literature references, and past exhibits and especially thinking about past exhibits as you move forward and whether or not the exhibit creation happens in your CMS thinking about how that is getting captured and if not already in your CMS making sure there’s some sort of record of it provenance of course and is becoming incredibly important as we consider and move towards being more transparent about how we’ve acquired objects and any of its sort of past ownership history.

Publication text, whether that informs description or has its own field can be incredibly rich. Related resources and then especially with links, most of the CMS options now we can have the option of hyperlinking so we should certainly do that if there are resources and materials online, and then the concept of a research note which can be a great addition to similar to catalog memo or curatorial memo having a research note that perhaps indicates other areas where research can be done, indicating where we have found some promising materials but need to spend more time in. So again it’s not necessarily a field that would be for public access and yet is a field and is information that can help inform future work on that object.

Some of the challenges so when we’re thinking about trying to get information into our collections management system and especially thinking of that last category we just covered which is when new content is being produced now and moving forward the challenges of trying to capture that content and getting it into the CMS is staff capacity as well as collections management system access.

So for staff capacity, we’re talking about just the fact of the matter that many of us are trying to wear many hats. There is always seemingly a resource crunch in terms of never having quite enough hands to do all the work. And so the sometimes the concept of capturing additional data can seem like it is is very optional and just may never rank very high in terms of priority, especially if it is outside of your normal workflow.

And then CMS access, understandably whether due to like user license limitations or perhaps just security in terms of not being able to provide a bunch of edit or add to catalog access to everyone in the museum for a variety of reasons these particular restrictions may come up that can also impact the flow of data being added to the CMS.

So in terms of how to think about streamlining and avoiding those sorts of hurdles I have a couple different suggestions so for those who are creating the information for those who aren’t you so thinking about curators conservators archivists whomever in your museum who could help contribute the type of content we identified in this webinar.

Having, them consider and perhaps working with them on their particular workflow and when that type of content is created by curator in this example having part of their workflow be then submitting that information to the CMS so in this case the particular people here have access to the CMS and so what we’re trying to address here is having them incorporate just the submission of that data as part of their workflow process so it doesn’t quite feel as much of like an added thing and more just part of the flow of data they create Another concept our strategy to consider is when there’s not that access to the CMS and so still trying to provide that supportive this is a part of your workflow experience with the people you’re working with if they can’t submit it directly to the CMS consider creating a like submission form or a submission spreadsheet where the archivist the curator whomever can access that document that is then submitted or you are then notified that there is information in that document that you can then take and apply to the object.

So thinking about your workflow as well as the workflow of the people that you’re working with and also thinking about whether or not they have direct access to the cms where they can submit information themselves or if you need to create a information submission mechanism where the info can still get captured in a timely manner and then provided to you for incorporation in the CMS in a way and manner that makes sense for your workflow.

So now archives, just spending a moment on archives because they can have so much great information.

I want to make sure I take a moment to highlight this because again even if your museum doesn’t have its own archives there are guaranteed still archive collections out there perhaps at different museums or even standalone archives that have materials that are related to one of your creators that have materials that are related to how the objects were gathered where they were sold so thinking specifically about collection type first and so I want you to consider as you think about the type of collection that you have is thinking about archive collections from archaeologists from art dealers from artists from previous owners of the objects and then even researcher collections each of these types of collections will have some sort of data on your particular object that can help inform your work so just to take that a step further it can help inform information on past purchase pricing especially if it’s from a past owner, from an auction house, or even from, like past previous like sales in different hands that have then made its way to your museum that can help inform past purchase price for the particular object or at least provide you some comparable purchase prices.

You can also get a sense of course of then previous acquisition source even if it’s not like an art dealer or auction house perhaps your collection came in from an archaeologist or an in the field researcher so of course those types of materials can help inform the acquisition method and source the archaeological site itself, especially for museums where their collections predominantly were unearthed through archeological excavations.

Having additional information from an arc that archeologist collection can be invaluable Thinking then of course related objects so for archive collections even if it’s not representative or has data on like your specific object if it is a related collection it can still have very valuable information that would be applicable to your collection.

Then of course any sort of previous research done can be incredibly beneficial even if you’re not able to go through it all often referencing it can help expand understanding of that particular object and help to improve the interpretation of that object.

And then of course just like the past life of that material whether it’s an artist’s collection and you get to learn the thoughts and methodologies that led led up to that creation or if it’s like an art dealer collection and that particular object has exchanged hands several times, or could have made its way into different hands but then narrowly was snapped up by someone else. All of that type of data can help inform past life of a particular object.

And so how can that help enhance? So as we begin to look at archive collections we need to figure out how to get into and understand what type of content may be in those collections so that we can be effective and efficient with our time when we do look at them. So I recommend with archival collections there’s usually always some sort of descriptive abstract of a collection and then hopefully and in most cases for collections that are available for research there will be some sort of index.

In archival terms they will refer to it as a finding aid for our purposes essentially think of it as like a box folder level inventory where you may not know always know like what each piece of paper is but you certainly know the contents and the topics of the folders in those boxes.

So getting a sense of from description and from the index and then as you research and before you head there especially if it’s outside of your museum I definitely recommend consulting with the archivist because the archivist can help give you a sense of like how much of the potential material may be appropriate for you to review. They may be able to appoint you to some representative digitization, so digital circuits of the records, maybe they’re already online, and they can help point you there. And then of course they’re always usually very informed whether there are related collections, so as you begin to explore and get to know their particular archive materials they may have ideas for other very appropriate collections for you to look at.

And then digging into the boxes, very respectfully and gently digging into the boxes getting to know the materials and just becoming familiar with the type of information that can typically be included in those different types of collections we talked about. So what is typical for an archaeologist collection versus what is typical for an art dealer versus an artist etc.

And as we think of that particular type of material there may be some fields that we want to add to our catalog record whether that is internal for us only or if we want to also make those available to the public, but depending on the collection type you may find that you want to add archaeological notes that can help provide more context and information about the archaeological excavation of the area as well as the archaeological methods and any sort of notes that may pertain to the particular object that you have.

Archaeological site information so who did it what team from what country because oftentimes and especially in like nineteenth and early twentieth centuries usually it was outside countries that would come in to excavate in a different country which can have its information can be very informative and very valuable in terms of provenance and whether things were done ethically.

And even just knowing like period of the time in terms of whether there were laws or not.

Can help inform object provenance and the ethics around that.

We can think of adding artist notes on the object especially if you’re working with an artist collection where there is like conceptual sketches or notes that happen before the eventual creation of that art piece can be very informative and very enjoyable to add to that particular object record.

You may want to add art dealer notes on an object so these notes may not necessarily be of interest to like for a general public catalog but could be very interesting and informative for researchers or for your own use and then adding a previous research notes field. So our understanding of our objects even if we’ve had them for decades are always evolving in terms of we get more additional information perhaps a different sort of data isn’t covered there are now different archive collections that we were able to reference our understanding for various reasons are constantly evolving and there are ways that we can capture that that is meaningful and yet conveys that this is a work in progress in terms of our understanding and interpretation of the object.

So how to perform the work when especially if you’re thinking about working with archive collections I recommend selecting a like a small focus group area of the object or objects that you wish to work on. So I would say like six to twelve objects maybe especially if you are constrained on time and you want to make it a very pinpointed search.

I recommend then of course using any sort of database that is available to you indexes or any sort of existing other finding aids for many archives that are opened for research they will have those online at least in some form for you to research ahead of time.

Definitely connect with the archivist first and foremost because you usually always need an appointment in order to go and see the materials you wish to see but also because the archivist can help inform and shape and guide your work at least initially as you look at the collections.

I recommend making notes or copies of information with indication of which objects it is applicable for especially if you’re working with an archive collection you may be able to take a reference shot of a particular document that’s of interest.

If not definitely make notes about it and then important to how you will get the information into the database creating that plan whether it’s to create a spreadsheet of the six to twelve objects and being able to upload the latest information or if you’re going to put the information in by hand record by record or work with a student or intern to do so so have a bit of a game plan for how you will then get that information back into your database so that you don’t have the wonderful experience finding so much great info but then didn’t have a plan or protect time to do anything with that information and then risking having that wonderful information to sort of never make it into the database.

All right so thinking about an archaeologist’s paper specifically so just to sort of guide you through especially if you are very new to what can be in an archival collection.

Archaeologist papers can be very interesting there are some very different types of records in here first and foremost archaeological site maps which can give you the context of what was the entirety of the site that was being excavated you can get a sense for whether it was like just one very large building that was excavated versus an entire city which definitely makes a difference in terms of informing objects and and how things were discovered Another major area here for an archaeologist collection is site photography very helpful for understanding the conditions of the archaeological site especially if it is incredibly old it can also help give you indication of where objects may have been found and really just give you that visual to help pair with the site map photographs of the objects in situ are also incredibly valuable in terms of like the contextual information of where particular objects were found, what they were found in or with or around in terms of were they found in a specific room.

That room has a specific purpose so the objects likely were part of supporting that purpose.

So having that sort of contextual information you can start to infer additional meaning and be able to further interpret that object.

Archaeologist collections can then have notes on the objects themselves in terms of design and shape in addition to the condition of the object and then of course notes on the nearby items so knowing what was found item wise with the particular object in question and what sort of condition those items were in can all help to inform your particular object of interest.

Object condition whether that is the photography or the notes any other sort of records will help inform that object’s condition upon acquisition, which can be helpful if there’s any sort of assessment and treatment needed later on.

Of course, for the archaeologist type collection, you can help get further analysis on that particular time period of where the where the peak time period of the excavation took place, realizing of course that if it is an archaeological excavation there could be multiple time periods that are revealed upon the different layers that they are excavating, so there can be depth and different context within just a few different layers of dirt but within the same room with the same object.

And of course just research notes on the site.

Tons of correspondence are usually included in an archaeologist collection and can include like getting excavation licenses getting excavation permission or not from that particular country.

So all of that can help inform like the rich contextual tapestry of what was happening in that particular site at the time of excavation versus at the time of its peak and when those objects were used as well as just some very specific object and situational information.

So with that I recommend taking a look at the collections management system fields when we’re thinking about archival collections and for the recent example you may be updating the object title based on your improved understanding of the object and its purpose. You may be able to better hone in on the dates of when the object may have been created.

You will most likely be able to add to the description of the object especially with that deeper understanding of where it was found and the contextual information.

You will have tons more information on the condition of the object at least at the point of that excavation.

You may even have a better sense of materials especially if you get a better understanding of what the object was found near as well as the different time periods that were excavated in that particular location.

You may get a better sense for cultural cultural association especially as cultural associations and the nature of nomadic peoples can change with the time period so it may have been that we thought it was from one time period and so one particular cultural association and actually we found out it was a different time period and indicates a different cultural association.

Concept of place and especially if we are considering archaeological site maps we may have initially known that an object was from Turkey for example, but having particular archaeological notes can help us to denote like specifically which ancient city it may have been from. And then of course related materials going through an archaeological archaeologist papers will of course help indicate what additional materials it was found around whether we have those in our collection or not, are still very interesting to capture and can help inform interpretation of that object.

So additional reading, if you’re interested in doing a deeper dive into the concept of data enhancement, so this is again going beyond basic cataloging to further enhancement of our cataloging.

We’ve got a few different posts there. If you’re just interested in, like, CMS data areas in general or how to go about that particular type of enhancement, there’s definitely a couple different blog posts you can check out on Lucidea’s think clearly blog and then the one at the bottom the ray Harryhausen titan of cinema is a post on how the museum exhibition used the archives for a significant portion of its storytelling and it’s just a great example of how archives were used in an exhibit format which you can then of course extrapolate to enhancing the cms object records.

So in conclusion we covered where the gaps can exist in object cataloging even if we’re doing a great job at doing the basic standard cataloging there’s always room to enhance.

We covered information that is available for immediate use so the information already lives and is out there we just need to gather it.

We covered when there are points of new information being created so the points of new content creation by our peers in the museum.

We then took a moment and took a deep dive into how archives can enhance object data even if they’re not archives in your particular museum.

We then took a look at an example of how archives can enhance collections online with a focus on an archaeologist’s collection and then give you some additional reading for additional information and resources if you’d like to take a deeper dive into data enhancement and just data strategy in general.

And before I let you go, speaking of data, there is demystifying data preparation for a new CMS, courtesy of LucidioPress. You can go get your free e copy and I encourage you to check it out.

And with that, Bradley, I’ll hand it back to you.

Thank you, Rachel, for the wonderful presentation. And to our audience, if you’d like to learn more about our museum collections management system called Argus, please feel free to visit our website or reach out to us at sales at Lucidea dot com, and we’d be happy to have a chat with you.

If you have more questions on any of our software or about our company, our contact details are listed on the screen, and please stay tuned for more webinars and content related to the series.

On behalf of the Lucidea team, I thank you all for attending today. Until next time. Thank you.