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The Art Museum Social Tagging Project is a group of art museums is looking at integrating folksonomies into the museum Web by developing a working prototype for tagging and term collection, and outlining directions for future development and research that could benefit the entire museum community.
The Brooklyn Museum has done a lot with FourSquare, like sharing promotions and building visible community; check out the write up on the FourSquare blog or on the Museum’s site. I think there’s a lot of potential for hyper local search and the power that comes with geo-tags/data. Meetup Everywhere.
When a technologist calls me to talk about their brilliant idea for a museum-related business, it's always a mobile application. There are lots of wonderful (and probably not very high margin) experiments going on in museums with mobile devices. Most visitors to museums attend in social groups.
Also found in the NpTech tag stream and a good backdrop to this conversation is " When the best tool for the job. context: How are museums encouraging stickiness and user investment in their proposed and in some cases, already developed, post 2.0 situation unless museums can get the ???stickiness??? public information???
Tag your own news with "nten member" or "nptech" to help us find your awesome online, or contact Annaliese with your updates.) . Farra, along with Thomas Negron and Charles Lenchner, invited Foursquare founder Naveen Selvadurai and Brooklyn Museum's Shelley Bernstein to their June 501 Tech Club. Who's your Mayor?
I'm thinking a lot lately about tagging communities (NpTech Tag), information coping skills, and distributed and disperse nature of networked/connected knowledge sharing. Further, they don't even need to create their own content, just as a museum curator rarely hangs his/her own work next to a Da Vinci. The other terms.
We looked at the museum map on the wall. There was a recent post on the ASTC listserv from a museum planning to revamp their wayfinding system. The wayfinding question in museums—or any complex space—is multifaceted. When the aggregate names are abstract, it’s hard to know what to expect. It had considerably fewer than 1.3
Nik inquired as to how I feel about museum blogs. what's your take on museums that keep blogs? In general, yes, I think that museums maintaining blogs is an effective, cheap way to get changing content out to the public frequently. version of the news clippings tackboard on “Current Events” in hallways of some museums.
About three months ago Beth Kanter wrote about the Crowdsourcing of Vision at the Smithsonian Museum. Crowdsourcing collective wisdom refers to the aggregation of anonymously produced data from groups of independent, diverse and decentralized people (crowds). Tags: crowdsourcing. Change agent who's been around many blocks.
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.
It’s called Tag this Image! Tagging,” or assigning descriptors to pictures, websites, and other content on the internet, is a huge trend in 2.0. with web pages, or on blogs with posts, tagging makes organization of items and search of them easier. Tagging is useful. Separately at your own computers, you tag images.
Every time a colleague tells me her museum has just hired a "community person," a part of me cringes. While subsequent museum staff have kept the project going, the community had connected with me as the focal point, and there has not been a new person who has been able to comparably rally the community to high levels of activity.
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. All artworks delivered to the museum during the submission period will be accepted and presented; no one is turned away.
Thanks to Bryan Kennedy from the Science Museum of Minnesota for providing this overview/reflection on the Museums and the Web conference that recently concluded in Montreal. Museums and the Web 2008 guest blogger Bryan Kennedy here. This multi-museum collaborative is undertaking a thoughtful process to tackle these issues.
I've long believed that museums have a special opportunity to support the community spirit of Web 2.0 This month brings three examples of museums hosting meetups for online communities: On 8.6.08, the Computer History Museum (Silicon Valley, CA) hosted a Yelp! Me: Have you ever been to this museum? meetup for Elite Yelp!
Which museums have experience creating collection tagging systems? The Museum Computer Network and Museum Software Foundation have teamed up to bring you MuseTech Central , a site where you can share your own technical projects and search through a growing resource list of others. Who's doing audio tours on iPods?
Imagine that your museum is ready to start creating content on a small-scale in Web 2.0. Imagine you are the Boston Museum of Science, and you are ready to make some videos to post on YouTube. When I search for "Boston Museum of Science" on YouTube, I find 83 videos. You're ready to make a few videos to post on YouTube.
On Musematic , Holly Witchey has rigorously recorded her recent experience at WebWise, a " IMLS/RLG/OCLC/Getty sponsored conference" on Libraries and Museums in the Digital World that was held March 1-2. To museum ears, this is fairly blasphemous--the idea that people want to use our content, not our exhibits. content providers.
On a recent trip to DC, an old friend showed me around a new exhibit at the US Holocaust Memorial Museum (USHMM), From Memory to Action: Meeting the Challenge of Genocide. The paper is perforated with one section for the promise, which visitors keep, and another section for a signature, which visitors leave at the museum.
I've written before about three types of museum users: contributors, lurkers, and judges. Digression: Some people have commented that my hierarchy of social participation suffers this fault by implying that museums should be trying to level up to higher social engagement. design participatory museum. Tags: web2.0
I've become convinced that successful paths to participation in museums start with self-identification. The easiest way to do that is to acknowledge their uniqueness and validate their ability to connect with the museum on their own terms. Who is the "me" in the museum experience? Not so at museums.
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.
On Monday, I gave the keynote at the Museums in Conversation conference in Tarrytown, NY. I learned to cultivate creative greed while working on Operation Spy at the International Spy Museum, where I was lucky to be working on a project that was so new to us that we didn't have any pre-established models or structures for doing it.
It’s a social bookmarking tool that comes with annotated notes, tags and links so you can save, organize and discover new content. It’s a news aggregator that pulls from your social media feed to create an e-newspaper that you can send out. It’s the worst when you want to remember a site and then can’t find it later.
Seb Chan of fresh + new, the blog from the Powerhouse Museum in Australia, ran with this idea to comment on the impact of disaggregation on the way that visitors use museum collections available on the web. I'd like to approach this concept from a physical, in-museum perspective. Aggregation is often a very personal thing.
How is a museum like a radio station? It’s called Pandora , and its successes reveal interesting lessons about aggregatingmuseum content. Instead, it uses hundreds of tags, signifiers assigned to each song by a team of musicians, to find correlated songs that may be of interest. For each song, I could click a “Why?”
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.
There is a simple leaderboard and each player's cards are aggregated on a personal dashboard. The thing that excites me about this is not the opportunity to use all the weird-colored cardstock hanging around the supply cabinets of most museums. If Signtific just asked the "What if?" machines) for informal learning environments?
We tried this at the Denver Art Museum last week, and it is incredibly challenging—you can’t just put out a box of chocolates and expect people to talk. I will aggregate the results for later discussion on the blog. Virtual-to-real design workshop at Museums and the Web—Friday, April 17 in Indianapolis.
How would you design a recommendation system for a museum? When it comes to museums, recommendation systems are a natural solution for the problem of the customized tour. When it comes to museums, recommendation systems are a natural solution for the problem of the customized tour.
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.
One of the most popular posts on Museum 2.0 The fourth kind I talked about is the "personal voice blog," in which museum staff write honestly and openly about their institution and experiences. At the time, I referenced a blog from the top: the Walters Art Museum Director's blog. is about different kinds of institutional blogs.
Today, Museum 2.0 I started the Museum 2.0 blog in 2006 as a personal learning exercise about "the ways that museums do and can evolve from 1.0 dynamic content aggregation and network machines)." I started the Museum 2.0 dynamic content aggregation and network machines)." and watched the Museum 2.0
When I read this speech, I wonder, where do museum experiences fit in? How often do museum visitors wonder what will happen next? The God game archetype has a very different basic premise than most game/museum/experience design. applications that allow people to self-publish, self-aggregate, self-design.
A few weeks ago, I participated in a Reach Advisors "museum conversation" with Web 2.0 The examples are primarily focused on large businesses with budgets much higher than those of museums, but the lessons learned are highly transferrable. Shouldn't we make it this easy to evangelize museum products? marketing.
I believe that focusing specifically on the social capacity of an object, rather than its content or interpretation, yields new design techniques for museum exhibits and other participatory spaces. I want to aggregate all the data, synthesize it and share it. I’ll produce a report that will be shared here on the Museum 2.0
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.
Every museum has a number for its operating cost per visitor. Most museums don't strategically set this number--too many operating costs are fixed by building needs--but they can use it to assess how expensive each visitor interaction is and evaluate the efficacy of programs. So where do online initiatives fit in?
When I talk about the hierarchy, I use the theoretical construct of an issue-based museum exhibit. At level one, the museum preaches to visitors about the issue. At level three, the visitor is polled about the issue and sees her result compared to the cumulative aggregate. with the issue. Why do you oppose flag-burning?
tools to your museum? So many museums suffer from departmental siloing, deluges of all-staff emails, the painful jujitsu required to collate seven versions of the same document. Many museum teams don't see each other in person every day. What's the most immediately useful application of Web 2.0 the list goes on. I like Wik.is
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 used that instruction recently to kick off a meeting at a museum planning a participatory education space. There was a self-aggregating group who toured an art exhibition. Interestingly, at the City Museum in St. Tags: participatory museum. conversation that followed. What conditions did I miss?
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