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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. As a person who works for a science museum, I work in an environment that supports play.
Detail on distribution of artworks in the Tate collection by birthdate of artists, visualized by Florian Krautli. What does "big data" look like for museums? The Tate is providing metadata about artworks and artists in its collection--over 70,000 artworks in all. informatics Museums Engaging in 2.0 They are beautiful.
The whole idea got started a year ago when James Leventhal who is Deputy Director for the Contemporary Jewish Museum asked me if I would design some trainings for the local arts community. Contemporary Jewish Museum. The Joe Goode Dance Company spoke about the challenges of getting an artistic director to Tweet.
at the Brooklyn Museum, where you could track how people of various levels of art expertise rated crowd-contributed photographs. I've been thinking about this as I prep some interactive prototypes for the Experience Music Project and Science Fiction Museum, a Seattle-based museum of pop culture. There was Click!
A rare blog post that combines personal narrative with statistical charts. And Carlton Turner runs Alternate Roots , another incredible artists' organization with a focus on social change that runs an annual conference/camp/experience which I have heard is mind-blowing in North Carolina.
People often ask me which museums are my favorite. I visit lots of perfectly nice, perfectly forgettable museums. In some cases, that's based on subject matter, as at the Museum of Jurassic Technology or the American Visionary Art Museum. Some are scrappy and iconoclastic, like the City Museum in St.
This guest post, written by Philippa Tinsley, Collections Manager for the Worcester City Art Gallery and Museum (UK), describes the innovative Top 40 exhibition they mounted in the summer of 2009. In my experience, museum professionals aren’t big reality TV viewers.
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.
Entertain the idea of an exhibit based on Gantt charts and spreadsheets, and your head might just explode. I met one of these data artists last year while visiting a friend/journalist at the New York Times. Sure, a lot of artists can express those kinds of intentions. But in Hansen and Rubin's case, it actually gets across.
No, these are neither the words of a self-important curator nor a well-spoken museum director. the crowd-curated photo exhibition now open at the Brooklyn Museum of Art. It is a substantive research contribution by the museum to the social technology field at large. Things like this are far and few between.
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