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You’ve read about participatory grantmaking—and maybe even heard about other organizations using this model to distribute control of their funding strategy and grants decisions to the communities they serve. Not sure if participatory grantmaking is for you or maybe you need a refresher on what it is? Is this you?
A Shared and Flexible Understanding of Impact As practitioners of and advocates for participatory philanthropy, we believe there’s a better way. Like many other activities in participatory philanthropy, this approach considers the process to be as important as the outcomes. It promotes mutuality instead of extraction.
Two years ago, we mounted one of our most successful participatory exhibits ever at the Santa Cruz Museum of Art & History: Memory Jars. Two years later, this project is still one of the most fondly remembered participatory experiences at the museum--by visitors and staff. He creates a visual representation of his story.
Nina has written a fantastic book engagement called The Participatory Museum. A third argues that the project won’t be truly participatory unless users get to define what content is sought in the first place. How can you describe user participation in a shared language that helps your team make the right decision for your project?
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? Here are three of my favorites.
As someone who has been a trainer for all these years, one of the things we're trained to do is "read the room." You watch for body language to indicate the level of engagement and whether or not people agree or disagree and encourage them to participate. So, if you're moderating a panel, think of yourself as a giant insect!
The above powerpoint is from 1999 and excerpted from day-long workshops I used to lead when I worked at NYFA and design and ran a program called "KIT: Knowledge in Technology - Technology Planning for Arts Organizations." He defines participatory culture as a culture: 1. With strong support for creating and sharing one???
Two weeks ago, I wrote about t he use of the word "quality" in the arts and its many forms. I believe in transparency in all language use--whether the words are familiar or new. Inspired by Stacy, I wanted to share some of the work we are doing at the Santa Cruz Museum of Art & History to clarify what we mean by engagement.
My style of teaching is participatory; I don’t lecture with PPT endlessly and involve the audience. Last year, I did a workshop at a conference for professionals who do audio description, a service that makes visual images of theatre, television, movies, and other art forms accessible to people are who blind or have low vision.
Well-planned events enable nonprofits, community groups, businesses and government agencies to showcase AAPI arts, food, performances, and more. The Art of Celebration: Showcasing AAPI Cultural Richness Incorporating cultural performances and art displays is a great way to bring the essence of AAPI heritage to life at your event.
This vision is inspired by the rapid emergence of generative AI technologies, such as large language models (LLMs) that power chatbots like Bard , and new generative media models like Google's Imagen , Parti , and MusicLM. As an example, we developed new methods for extracting semantically meaningful structure from natural language prompts.
It is always challenge to use participatory techniques when your participants are not native English speakers and you don’t speak the language. I thought I’d share a few quick insights and tips that I learned for others who may be preparing for doing tech training internationally and want to use participatory techniques.
Here in Barcelona, it's standard to see three languages on labels (Catalan, Spanish, English), and in Scandinavia I've seen as many as six. Even in North America, it's becoming typical to see two languages on the walls. As far as I see, an institution like this could: focus on non-language-based participation.
Visitor-contributed photos surround a collection piece in Carnegie Museum of Art's Oh Snap! It can be incredibly difficult to design a participatory project that involves online and onsite visitor engagement. In this guest post, Jeffrey shares the story behind their big hit with a visitor co-created exhibition.
Today is my one-year anniversary as the executive director of the Santa Cruz Museum of Art & History. We went through a dramatic financial turnaround and redefined our relationship with our community through a series of experimental participatory projects and new programmatic approaches. 85% of our visitors attend through events.
This post was written by my colleague Nora Grant, Community Programs Coordinator at the Santa Cruz Museum of Art & History. At the Santa Cruz Museum of Art & History (MAH) , we have been experimenting with a kind of pop up museum that is primarily created by the people who show up to participate.
We are hiring for a School Programs Coordinator to wrangle the 3,500+ students and their teachers who come to the museum every year for a tour and hands-on experience in our art and history exhibitions. Museum of Art and History Quick Hits professional development' Most school tours are for intact groups—a single class or grade.
Most participatory projects were short-term, siloed innovations, not institutional transformations. Interestingly--for good and ill--this transformative funding program coincided with a national funding crisis in the arts in the UK. Bernadette Peters' provocative 2011 report, Whose Cake is it Anyway? didn't mince words. and realistic.
They were “preaching the museum gospel” in NYC via alternative tours at The Metropolitan Museum of Art. We interacted with the art and with each other through dynamic photo challenges, kinesthetic activities, and conversations. I imagine that there are a lot more presumed barriers to break down at an art museum than a science museum.
Consider three very different talkbacks in the Santa Cruz Museum of Art & History''s fall exhibition, Santa Cruz is in the Heart: cocktail napkins, rear view mirrors, and refrigerator certificates. We asked Brandt to also count any responses that were "aggressive"--swear words, violent language, etc. Also, a sidenote.
What does the word "participatory" mean to you? The various definitions of participatory projects can lead to confusion and misunderstandings. Participation in science research is a good basis on which to develop a framework for participatory models because it is based on a consistent scientific process with many steps.
We dont have digital data for a lot of human intelligence, because people werent valuing the people who produce those books, or the people who produce that art. I dont ask those questions if Im just looking at the words that a large language model threw up as an auto reply. Is this an honest way of speaking to you? Theres no awareness.
It launched in October of 2007 with a very simple and understandable idea: to produce a global map of pieces of art made with stones on beaches. The act of making art, and the recognition on a simple website, are the only rewards. It's about making art, connecting to the earth, and being part of something greater.
It's not the extent to which they are participatory. In some cases, that's based on subject matter, as at the Museum of Jurassic Technology or the American Visionary Art Museum. They may feature community gardens or exhibit labels in languages tailored to locals. It's not their size or type or subject matter.
" Later, her work brought her to Mali, where she advised on participatory methods. The tools can be useful for in-country connections, in local languages, or north-south connections. The art of advising communities of practice. " She has worked in Africa as a trainer and later as an organisational advisor. Technology.
I used the example of the Yerba Buena Center for the Arts, which has a mission statement that includes unusual words like “bold” and “fearless.” When you speak in the language of the institutional mission, executives will understand you better and be attentive to the new connections you draw from the mission to proposed projects.
At this moment in the arts and social justice sectors, were seeing greater visibility of disability cultureled by disabled creatives including artist, composer JJJJJerome Ellis , filmmaker Jim LeBrecht , and writer Alice Wong. Funding disabled creatives advances the arts and social justice.
Today, the Luce Center at the Smithsonian American Art Museum (SAAM) is launching what they claim is the first ever alternate reality game (ARG) in a museum. Why would an art museum create an ARG? But comments on the gamers' forum like: An internet collaborative [sic] art display in a national museum? To expand their audiences.
As I imagined a world without Nina Simon ’s Participatory Museum , I felt sad about all the visitors whose voices (and post-it note comments) weren’t honored. About a decade ago, I remember reading "Nuns sat here" at the Detroit Institute of Art as the title of a label for a piece of wooden convent furniture.
There are many participatory experiences that appeal primarily to adults, and they are designed distinctly for adults. There's a huge difference between the edgy, DIY beauty of Candy Chang 's participatory urban artworks and the dayglow colors, exclamatory language , and preschool fonts of most museum interactives.
I''ve now been the executive director of the Santa Cruz Museum of Art & History for three years. Participatory work can be very labor-intensive. They aren''t intended to force fit our work to aspirational language; instead, they are intended to make transparent that which is existing but ephemeral. To work for my community.
The Art of Good Closers. Participatory Facilitation Techniques. Training in Another Language: Working with Translators and Interpreters. How To Get Started Designing Peer Learning That Works. Peer Learning As A Prelude to Collective Action. I cebreakers and Closers. Group Polling Techniques and Tools. Creating a Network Map.
We'll discuss best practices, platforms, cloud services and filesharing, how to edit together when you're not in the same place, and how to agree on ways to tell your story when you may not be speaking the same language. This is a participatory live video show - come ready with your questions for our experts! His forthcoming.
We'll discuss best practices, platforms, cloud services and filesharing, how to edit together when you're not in the same place and how to agree on ways to tell your story when you may not be speaking the same language. This is a participatory live video show - come ready with your questions for our experts!
We're taking the art of freelancing for writers, and making it much more transparent and much more public. The other two things that happened was that I started working a lot in participatory journalism. I'm a big believer in participatory journalism, or citizen journalism, whatever you want to call it. I totally agree.
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