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Ruth Cohen – American Museum of natural History. Jason Eppink – Museum of the Moving Image. Ruth Cohen – American Museum of natural History. We are trying to change the visitors’ experience at the museum as well as ownership of what is in the museum, break down the walls between the public and the museum.
Have you ever been to a restaurant, museum or shopping mall and needed to use the bathroom? Maybe, but our brains are trained to go with what we know. We particularly appreciate search bar suggestions, like how Spotify invites users to search not only a song title but an artist or a podcast too.
NFTs can really be anything digital (such as drawings, music, your brain downloaded and turned into an AI), but a lot of the current excitement is around using the tech to sell digital art. That really depends on whether you’re an artist or a buyer. I’m an artist. Could I pull off a museum heist to steal NFTs?
Dear Museums on Twitter, Thanks for experimenting in a new and largely uncharted online environment. So here is a list of suggestions that hopefully will improve the way your museum thinks about using Twitter. Or it's rainy so you suggest I visit the museum? I am a museum of Native Cultures and Art!" You could do better.
One of the greatest gifts of my babymoon is the opportunity to share the Museum 2.0 First up is Beck Tench, a "simplifier, illustrator, story teller, and technologist" working at the Museum of Life & Science in Durham, NC. Beck is the brain behind the risk-taker/space-maker paradigm I''ve shared here in the past.
He is Deputy Director for the Contemporary Jewish Museum , and an expert in using social media in a museum setting. We were lucky enough to have a fabulous space for the workshop in the Contemporary Jewish Museum. He is Deputy Director for the Contemporary Jewish Museum, and an expert in using social. I said yes.
Here is an example of an artistic program or creative process undertaken as a crowd and it isn't a cheap publicity stunt. Jerry Michalski use the metaphor of the global brain to describe this. Now wonder some arts organizations - museums, orchestras, and now operas - have embraced crowdsourcing as a creative technique.
Seb Chan has a lovely, long interview up at Fresh+New with Helen Whitty about the Powerhouse Museum's new mini-exhibition, the Odditoreum. The Odditoreum is another wrinkle in the study of visitors' understanding and interpretation of authenticity in museums. I enjoyed listening to it (virtually, not at the museum).
Really, this is only the tip of a very long fun/good list that would include spending time with my tough and tender little boy, taking him to museums, restaurants, parks, the climbing gym, letting him ride his bike to his friend's house. Supporting art and artists, writers and books. I love how he comes home smelling like fire and mud.
The speakers for this panel include: Tracy Fullerton - Electronics Arts Game Innovation Lab Ruth Cohen - American Museum of natural History Elaine Charnov - The NY Public Library Jason Eppink - Museum of the Moving Image Syed Salahuddin - Babycastles Elaine Cohen: The New York Public Library 100 Years of the flagship library in New York.
Thanks to Kyle Evans, who forwarded me the fascinating, lengthy master’s dissertation.art: Situating Internet Art in the Modern Museum by Karen Verschooren at the MIT Comparative Media Studies program. In it, Karen provides a survey of the evolving relationship of Internet art to art museums. Citizen science programs. On the website?
I asked how their new Exploring Engagement Fund (of which my museum was an early grant recipient) was going. First, and close to home, it meant the possibility that the Irvine Foundation might become a funder of the work we do at the Santa Cruz Museum of Art & History around active arts participation and social bridging.
This is the eleventh in a series of posts on the Santa Cruz Museum of Art & History ( MAH )'s development of Abbott Square , a new creative community plaza in downtown Santa Cruz. We had 2,000 t-shirts to give away, 850 balls to drop, and over a hundred artists, accordionists, salsa dancers, taiko drummers, and bubble ladies ready to go.
Others are artistic projects—Jonathon Coulton’s popular Thing a Week (he writes a song each week), Scott McCloud's " Morning Improv " comics. And then of course there are blogs, in which millions of people are airing their brains out daily or weekly for everyone—and anyone—to watch and comment on. How can museums learn from it?
That means we collect university press, handmade artist books, zines made by sixth graders, poetry chapbooks from big names published in tiny local presses, and self-published poetry chapbooks sold for a dollar on the street. Growing a Strong Volunteer Culture Every year, thousands of new librarians and archivists graduate from MLS programs.
When I started this blog in 2006, I made a multi-media introduction to the concept of "museum 2.0" Venue as content platform instead of content provider: the museum becomes a stage on which professionals and amateurs can curate, interpret, and remix artifacts and information. The museum gets better the more people use it.
I met one of these data artists last year while visiting a friend/journalist at the New York Times. Moveable Type, like its predecessor, Listening Post (now touring international art and science museums), is an exercise in harnessing and repackaging data as art. Sure, a lot of artists can express those kinds of intentions.
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