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Imagine this situation: You go to an arts event, one of a type you rarely or never take part in. There's been a lot of innovation in arts programming in the last few years. Museums and other venues are offering special programs for teens, for hipsters, for people who want a more active or spiritual or participatory experience.
LINK LOVE Bay Area folks, join me November 15th for Jennifer Lee's Right-Brain Business Plan Workshop in Oakland. Interesting WorldChanging post, Just Launched: Journal of Participatory Medicine. Early registration deadline is Nov. Green Blogger Convention To Kick Off In Los Angeles Next Month on Eco razzi.
Art, however, does not come to museums pre-hardened. At the museum of art and history where I work, we are grappling with the question of how to help people enjoy themselves while keeping the art and artifacts safe. The level of touching, especially of art, has increased. This was amazing. How will we deal with this?
Many of the talks are related to The Participatory Museum and I will have books for sale on all of these forays. I'm giving a free talk at the Smithsonian American Art Museum on the evening of the 22nd, and then a free workshop on the 23rd at the National Postal Museum on designing better mechanisms for visitor feedback and response.
This session was participatory in several ways, including interactive music-making machines in the audience and half the time reserved for Q&A. A few things I learned from the presentations and discussion: Dan shared a useful 4-step mental model for the progression of how institutions move towards participatory engagement.
I spent last week working with staff at the Minneapolis Institute of Art (MIA) on ways to make this encyclopedic art museum more open to visitor participation across programs, exhibitions, and events. While there, I was lucky to get to experience a highly participatory exhibition that the MIA mounts once a decade: Foot in the Door.
Every once in a while I come across a project I wish I could have included in The Participatory Museum. an exhibition produced with schoolchildren at the Wallace Collection in London, is a lovely example of co-creation that demonstrates the multiple benefits of inviting audience members to act as partners in arts organizations.
Most of my work contracts involve a conversation that goes something like this: "We want to find ways to make our institution more participatory and lively." Most museums that offer interactive exhibits, media elements, or participatory activities offer them alongside traditional labels and interpretative tools. Fabulous!" "But
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.
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