This site uses cookies to improve your experience. To help us insure we adhere to various privacy regulations, please select your country/region of residence. If you do not select a country, we will assume you are from the United States. Select your Cookie Settings or view our Privacy Policy and Terms of Use.
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Used for the proper function of the website
Used for monitoring website traffic and interactions
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Strictly Necessary: Used for the proper function of the website
Performance/Analytics: Used for monitoring website traffic and interactions
There are many artistic projects that offer a template for participation, whether a printed play, an orchestral score, or a visual artwork that involves an instructional set (from community murals to Sol LeWitt). One of the things I always focus on in participatory exhibit design is ensuring that everyone has the same tools to work with.
Another point of intersection here for me is Henry Jenkins recently published 72-page white paper " Confronting the Challenges of Participatory Culture: Media Education for the 21st Century." " He describes what Ian observed what happened with his youth audience. Expressions (media creation, mashups, etc).
He casts the whole idea of a great jazz jam in the context of the tragedy of the commons--like a poetry open mic, the jazz club is a community whose experience is fabulous or awful depending on the extent to the culture cultivates and enforces a healthy participatory process. participatory museum Unusual Projects and Influences inclusion'
It is multi-disciplinary, incorporates diverse voices from our community, and provides interactive and participatory opportunities for visitor involvement. This post focuses on one aspect of the exhibition: its participatory and interactive elements. So many museum exhibitions relegate the participatory bits in at the end.
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. Museums see open-ended self-expression as the be-all of participatory experiences. Why aren’t more museums designing highly constrained participatory platforms in which visitors contribute to collaborative projects?
It incorporates work by local artists, old and new construction, and is completely gorgeous. She did several things over the course of the tour to make it participatory, and she did so in a natural, delightful way. But participatory facilitation can be taught. Tags: personalization participatory museum.
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. Museums see open-ended self-expression as the be-all of participatory experiences. Why aren’t more museums designing highly constrained participatory platforms in which visitors contribute to collaborative projects?
Stacey has been collaborating with local artists to produce a series of content-rich events that invite visitors to participate in a range of hands-on activities. The event involved over fifty artists throughout the building helping visitors make their own paper, write poems, stitch books, etc. Loved" and "Made" were the most popular.
With all these options, we wanted to look back and highlight some of the Issue Lab community’s most popular publications in 2022, featuring a wide array of topics ranging from education to participatory grantmaking and beyond. Expanding Equity: Inclusion & Belonging Guidebook , by the W.K.
What happens when a formal art museum invites a group of collaborative, participatoryartists to be in residence for a year? Will the artists ruin the museum with their plant vacations and coatroom concerts? Will the bureaucracy of the institution drown the artists in red tape? No, this is not a reality TV show.
We've been offering a host of participatory and interactive experiences at the Museum of Art & History this season. I loved Jasper Visser's list of 30 "do's" for designing participatory projects earlier this month. I thought I'd add a few of the little things we've learned about visitors (and ourselves) through our monkeying.
I learn a ton from her every day and wanted to share her thinking--and her graduate thesis--with you. Visitors bond and bridge through participatory experiences at MAH. The value of participatory experiences is epitomized in FIGMENT , a free, creative, participatory, non-profit, community art event.
As you progress through the challenges, you gain more constituents that will help you with tasks, and learn valuable skills that can be used in real life. As a single player experience, you roam the streets viewing developments in progress and you learn to see how a certain individual interprets the changes for better or worse.
I met her like ten years ago when I leading training workshops for arts educators, artists, and arts organizations throughout New York State on how to use the Internet. These projects were done nearly ten years ago, but they presage what the social web, participatory media. Meet Susan Silverman. I was teaching Web1.0
I've been reading Henry Jenkin's book, Convergence Culture: Where Old and New Media Collide" - I ordered after I heard him speak at the MacArthur Foundation Digital Media and Learning briefing (Nancy Schwartz recently wrote about it here ) and read his white paper on participatory culture.
Yesterday, I learned about the Silk Mill, a British historic site that is going through a dramatic community-driven reinvention. In the fall of 2013, they launched Re:Make , an ambitious project to redevelop the museum, live, on the floor, with a mix of staff, guest artists, and community members. It has an incredible story.
That's how I felt when artist Ze Frank got in touch to talk about a potential museum exhibition to explore a physical site/substantiation for his current online video project, A Show (s ee minute 2:20, above). He is an authoritative artist of the social web with a slew of accolades and a suite of diverse projects under his belt.
Let's look at the statistics from three big participatory projects that wrapped up recently. This citywide festival showcased work by 1,517 artists competing for a $200,000 top cash prize awarded by public vote. 1,708 artists participated. An estimated 18,000 people attended, of which 4,929 nominated artists for the show.
Granted, I live in an increasingly narrow world of people who are exploring these topics and want me to work with them, but I still learn a lot from the questions and struggles I hear from colleagues and people who comment on the blog. Are there certain kinds of institutions that are more well-suited for participatory techniques than others?
In particular, we want exhibition collaborators--artists, researchers, historians, collectors--to understand our goals and how we intend to steer the exhibition development process. We knew internally that we wanted our exhibitions to become more interdisciplinary, more participatory, and more responsive to audience needs.
Generative AI research Generative AI is creating a lot of excitement, and PAIR is involved in a range of related research, from using language models to simulate complex community behaviors to studying how artists adopted generative image models like Imagen and Parti. a gingerbread house in a forest in a cartoony style").
The artists come from all over (though many are based in the Midwest), and anyone can enter. Artprize invited me to talk about art with artists, families, security guards, friends, people old and young, sophisticated and novice, drunk and sober. It was the best experience I've ever had talking and learning about art.
Wes is an artist, and this is his first time running a museum exhibition development process. This is the question I ask myself anytime I'm working on something with a participatory intent. The obvious start was to think about how we recruit the artists--using an open call to invite anyone, anywhere to participate.
This week marks five years since the book The Participatory Museum was first released. I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. Since 2010 I have seen, again and again and again, how valuable human facilitation is to the participatory process.
Granted, I live in an increasingly narrow world of people who are exploring these topics and want me to work with them, but I still learn a lot from the questions and struggles I hear from colleagues and people who comment on the blog. Are there certain kinds of institutions that are more well-suited for participatory techniques than others?
The Art of Participation provides a retrospective on participatory art as well as presenting opportunities for visitors to engage in contemporary (“now”) works. As the museum's website puts it, "this exhibition examines how artists have engaged members of the public as essential collaborators in the art-making process."
Most participatory projects were short-term, siloed innovations, not institutional transformations. While that was painful for the organizations involved, it also helped force the issue of whether participatory engagement could be core to a strong future business model for each organization or not. didn't mince words.
We partnered with foster youth, former foster youth, artists, and community advocates to create an exhibition that used art to spark action on issues facing foster youth. Short story: we learned a lot. What did we learn? This project wove together many different participatory threads. We wrote a toolkit about our process.
The best way I can really push my own participatory practice and thinking is to operate an institution and work with a community I care about over time. And then I started learning about the situation at the Museum of Art & History (MAH) in downtown Santa Cruz. When we moved here four years ago from Washington D.C.,
The Denver Art Museum is no stranger to community collaborations, but we’ve been dipping in our toe a little more deeply when it comes to developing permanent participatory installations. Community artists gave their honest feedback, and we crafted a display based on these discussions and their contributions.
I grew up professionally in the science and children's museum field, where touching is guaranteed and floor staff spend more time helping visitors learn and ensuring their personal safety than they do protecting the objects. Engagement with local artists. I used to think these were easy questions to answer. This was amazing.
Recently, I was giving a presentation about participatory techniques at an art museum, when a staff member raised her hand and asked, "Did you have to look really hard to find examples from art museums? For this reason, I see history museums as best-suited for participatory projects that involve story-sharing and crowdsourced collecting (e.g.
She is a fabulous and thoughtful artist. You can learn more about her work here. The same day we opened the Creativity Lounge, we opened new exhibitions throughout the building, including a paper collage show in the 3rd floor lobby by local artist Lisa Hochstein. The area that houses the Creativity Lounge also shows art.
These are unpaid, part-time internships in which you will make a significant contribution to our work, and at the same time, learn a heck of a lot about participatory design and community engagement. Check out the descriptions and how to apply here , and learn more about the MAH intern experience on their blog here.
It''s impossible to process everything I am learning from these four psychologists in just one blog post. This blog is about shared learning, and I went to engineering school. In the case of the Stanford study, I was fascinated to learn that the content of the music video was significant in terms of signaling change in prejudice.
Last week, Douglas McLellan of artsJournal ran a multi-vocal forum on the relationship between arts organizations and audiences, asking: In this age of self expression and information overload, do our artists and arts organizations need to lead more or learn to follow their communities more?
We''ve seen surprising and powerful results--visitors from different backgrounds getting to know each other, homeless people and museum volunteers working together, artists from different worlds building new collaborative projects.
When asked why these artistic directors were pursuing co-creative processes, "to make great art!" Respondents also talked about growing as artists through the process and the incredible things they learned from working with non-professionals. When an institution becomes wholly participatory, those distinctions often erode.
I met many new people and learned a lot about technology and community, but the learning wasn''t the point, enjoying the resolutions was. We ran with it and have since generated data about decision-making, cooperation, competition and negotiation for scientists (and also some artists) to play with.
I LOVE the way the James Irvine Foundation presents their lessons learned from grant-making in the Arts Innovation Fund program. It is attractive, smart, and packs rich information into a navigable format that makes you want to explore and learn more. I know I have a lot to learn from the content AND the format of this report.
There are many different kinds of tools that use machine learning and rule-based programmingand other kinds of algorithmsto develop applications. Machine-learning algorithms differ in the same sort of way. AI is not a clean, tidy, scientific label that we can attach to this kind of software and not this other kind.
Here are our slides and Ellen's handouts if you want to learn more. In particular, we had a great group of 15 talking about participatory history experiences on Sunday. Participatory art and co-creation on the rise. This was a topic I was never interested in before I became a director.
We're working with participatory online artist Ze Frank on an exhibition at the MAH this winter that features the missions, creations, and explorations of his current web series, A Show. Here's to a new year full of experimenting, learning, and sharing. Read more about the project and how to participate here.
They designed a participatory project that delivers a compelling end product for onsite and online visitors… and they learned some unexpected lessons along the way. We invited a cross-section of artists, filmmakers, and advertisers to join us for a think tank. Projects participatory museum storytelling usercontent'
We organize all of the trending information in your field so you don't have to. Join 12,000+ users and stay up to date on the latest articles your peers are reading.
You know about us, now we want to get to know you!
Let's personalize your content
Let's get even more personalized
We recognize your account from another site in our network, please click 'Send Email' below to continue with verifying your account and setting a password.
Let's personalize your content