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
Last month, the Irvine Foundation put out a new report, Getting In On the Act , about participatory arts practice and new frameworks for audience engagement. I've often been asked about examples of participatory practice in theater, dance, and classical music, and this report is a great starting point.
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." Adults who work for nonprofits and feeling pressured to adopt and incorporate social networking tools and techniques. Performance ???
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.
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.
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.
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 seen this line of questioning almost completely disappear in the past two years due to many research studies and reports on the value and rise of participation, but in 2006-7, social media and participatory culture was still seen as nascent (and possibly a passing fad). In 2008, the conversation started shifting to "how" and "what."
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").
Think like a musician Those who have played music in a band or orchestra or sang in a choir understand the profound impact of an engaged and participatory audience. Like a good ask-me-anything session with your favorite artist, these bits of interactivity boost engagement.
Over the past year, I've noticed a strange trend in the calls I receive about upcoming participatory museum projects: the majority of them are being planned for teen audiences. Why are teens over-represented in participatory projects? The first of these reasons is practical.
I''ve seen this line of questioning almost completely disappear in the past two years due to many research studies and reports on the value and rise of participation, but in 2006-7, social media and participatory culture was still seen as nascent (and possibly a passing fad). In 2008, the conversation started shifting to "how" and "what."
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. Then get yourself to Grand Rapids for Artprize. It's the social experience. The prizes?
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.
Recently, I was giving a presentation about participatorytechniques 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? Aren't art museums less open to participation than other kinds of museums?" I was surprised by her question.
We have witnessed and experienced incredible moments of transformation: homeless people and history buffs working together on historic restoration, graffiti artists and knitters collaborating on new artistic projects, visitors from different backgrounds making collages, or sculptures, or dance performances together.
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.
Recently, we''ve been talking at our museum about techniques for capturing compelling audio/video content with visitors. 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. So what did you do next?
I was thrilled to work with the Brainerd Foundation staff to help design and facilitate a design lab using techniques based on Luma Institute methods earlier this month. In some ways, a design lab can be thought of as “participatory research and testing.”. Why Use One? Concept 2: Mission: Possible.
It's not the extent to which they are participatory. Funders like the NSF have encouraged science centers in particular to share their techniques and evaluations, which is fabulous but also leads to rampant and sometimes unthinking imitation. They may employ local artists to help create visitor experiences.
It’s not unusual for us to meet with an environmental activist, a balloon artist, a farmer, and the Mayor of Santa Cruz all in one day. We offer these tools in the spirit of sharing and look forward to learning about the techniques you use in your own community. Start with and continuously identify your communities. Who are they?
So you see a lot of backlash against AI right now, because you see artists who have been ripped off by AI platform companies that have scraped their artwork and used it without compensation or credit.9 Were using them instead in ways that someone else can make money from most quickly. And unfortunately, thats damaging the reputation of AI.
Visitor Co-Created Museum Experiences This session was a dream for me, one that brought together instigators of three participatory exhibit projects: MN150 (Kate Roberts), Click! which followed a very strict formula that frustrated some participants who wanted to be treated like artists, not contributors to a data experiment.
A cheerful curly-haired deli owner stands in front of 30 of us and shares a quote he loves: "Artists live in the present and write detailed histories of the future." It was even more useful to learn how participatory writing visions can be. Use the "hot pen" or automatic writing technique. If you get stuck, write nonsense words.
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