not be the individual user (teacher, student) that pays the subscription fee, but the edu-
cational institution or a public entity responsible e.g. for a school district.The material or
virtual learning environment offered on a cultural heritage platform will therefore be free at
the point of use.This model is used by leading new cultural heritage organisations as for
example SCRAN and AMICO that are described in Chapter 7,"Organisational Change".
Below an accumulated list of services and products is provided, which experts mentioned
to possibly have some market potential, respectively could be relevant things people would
be willing to pay for.This list presents many lines of activities that are today practised in
(some) cultural heritage institutions and could be reinforced, or would need to be explored
to see whether reasonable revenue could be generated.
The activities mentioned are grouped in the classical distinction between Business to
Business (B2B) and Business to Consumer (B2C).This distinction will also be used in later
paragraphs where selected lines of activities will be dealt with in more detail. B2B in the
context of cultural heritage of course means institution to business or other institution (e.g.
in the educational sector).
Revenue options for cultural heritage institutions
The following list includes off- and online markets, of which experts have suggested being
of relevance with regard to exploiting cultural heritage. It is not meant to be exhaustive, but
can give a first overview of services and products to be considered.The sequence of things
mentioned represents no ranking in terms of real market potential. Also, the list represents a
relative clear distinction between B2B and B2C markets, many things can be either/or: e.g.
a video-conference with a museum expert might be interesting to do for auctioneers or for
a school class doing history projects.
What companies, other institutions, or individual customers would pay for (not ranked):
Business to Business:
Licensing images (seen as a niche market),
copyright fees on other reproductions (e.g. maps, posters, etc.),
educational material (e.g. courseware),
virtual education, e-learning (e.g. services for virtual high schools or universities),
merchandising (e.g. special museum shop products),
renting premises (e.g. museum spaces) for conferences or meetings, use of
monumental areas in film shooting etc.
services / products for companies in the touristic sector,
(interactive) cultural television programs, e.g. for a tourist or education channel.
Business to Consumer:
Internet shops for tangible cultural heritage goods,
exhibitions, guided tours, personal guides, seminars,
complex/time consuming research on collections,
video-conferences with museum experts.
The most promising markets in general terms are seen to be (not ranked):
content industries (in particular publishing houses),
education and life-long learning,
Accumulated from expert statements at the DigiCULT ERT, Edinburgh, July 24, 2001