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Is that a Zen graffiti artist? “ Marnie talks about the importance of data aggregation and synthesis skills as a new competency for nonprofits. She also admits that shift from artist to curator is not an easy one for many nonprofits because of the way they are structured. Flickr Photo by TheeErin.
I like to ask myself this question periodically, challenging myself to find substantive ways for visitors to contribute to our museum. And when I think back on the past year, some of the most magical things that have happened at the museum have NOT been designed by us. We don't have to convince them that it's their museum.
Submitted by Nina Simon, publisher of Museum 2.0. I’ve had it with museums’ obsession with open-ended self-expression. There are so many more people who join social networks, who collect and aggregate favored content, and critique and rate books and movies. And yet many museums are fixated on creators.
I’ve had it with museums’ obsession with open-ended self-expression. There are so many more people who join social networks, who collect and aggregate favored content, and critique and rate books and movies. And yet many museums are fixated on creators. This is a problem for two reasons.
How can you make your museum website more effective in driving traffic and raising awareness of your institution? But there is a simpler, more impactful way for museum websites to become more visible, cited, and visited in the online landscape. Museums are creating “walled gardens,” and it hurts online visibility and impact.
I've written before about the inspiring work that the Brooklyn Museum of Art is doing with their community-focused efforts. Click is an exhibition process in three parts: The Museum solicited photographs from artists via an open call on their website, Facebook group, Flickr groups, and outreach to Brooklyn-based arts organizations.
How is a museum like a radio station? It’s called Pandora , and its successes reveal interesting lessons about aggregatingmuseum content. You enter a seed artist or song (or several) and Pandora starts playing music that it interprets as related in some way to your selections.
The company has created a platform to aggregate donations for small businesses that are fighting back. Musemio Musemio uses immersive technology and has partnerships with paid customers, such as the Crisis Charity and the Royal Museums of Greenwich. MacPaw claims its products have more than 30 million users worldwide.
I created a directional pyramid to make a point about social content in museum; namely, that museums are not offering networked, social experiences—and therefore will have a hard time jumping to initiating meaningful social discourse. And I’m not advocating that the dream museum would be all level 5 experiences, all the time.
They reminded me of street vendors or great science museum cart educators, imparting an energy to the space without overwhelming it. Not everyone comes back to read the evolving comment stream, but the aggregate is always valuable to the next visitor. This is a good lesson for museum talk-back design.
Elisa’s focus is interactive arts, media design, and cultural management, and she has been involved in many pertinent projects, such as MUVI (the Virtual Museum of the Collective Memory of Lombardia). Environmentalists, the Museum of Natural History at CU, they all responded very enthusiastically to this. There are two strategies.
If anyone out there is considering creating an industry catch-all site for museum-related content, I highly recommend Gamasutra as a model. Can museums afford to indulge in this kind of fantasy? It drives me nuts when I’m in a museum that has made a half-hearted attempt to thematically connected galleries or exhibits.
I spent last week working with staff at the Minneapolis Institute of Art (MIA) on ways to make this encyclopedic art museum more open to visitor participation across programs, exhibitions, and events. The rules are clear: anyone who lives in Minnesota and considers her/himself an artist can contribute one piece.
Advertisements for the skull blanketed Amsterdam, and other museums even tried to get in on the buzz generated by its presentation. By positioning the feedback stations outside the flow of the museum (and within a solely skull-branded structure), the resultant videos were more topical and focused than museum standard.
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