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With hours of mindless scrolling available with just a few swipes and taps, it’s crucial for museums to get savvy and creative with social media campaigns to stand out. Posts from visitors and/or followers about museums always appear more genuine than organizational marketing messages. Black Country Living Museum TikTok.
I am also prepping a panel on the topic for NTC (more about that later) Seb Chan is focusing specifically on blog metrics for museums. the multidirectional communication, that most museums set up blogs to encourage and explore. He thinks that Avanish Kaushik's model is particularly well-suited for museum blogs. interactivity???
But, try as we might, we couldn’t find any research that looked at arts groups’ adoption and attitudes toward digital and social media nationally that also asked all-important questions about how groups are measuring what they’re doing. Arts organizations are not alone in this. What are they learning from their experiments? was created.
Kate McGroarty's month living at the Museum of Science and Industry in Chicago is over. The young actress and teacher beat out 1,500 other applicants and spent 30 days exploring exhibits, participating in live demos, talking to visitors (both in-person and online), and romping through the museum at night. Lisa's goals were met.
These can be a brief and simple reminder about civility and respect and deleting in appropriate comments. Want to look at a few inspiring custom landing pages, check these out or cruise through these landing pages of art museums or other nonprofits. Always be commenting. ABC: Always Be Commenting ” on your Facebook page.
This August/September, I am "rerunning" popular Museum 2.0 Originally posted in April of 2011, just before I hung up my consulting hat for my current job at the Santa Cruz Museum of Art & History. I''ve spent much of the past three years on the road giving workshops and talks about audience participation in museums.
Residents in the three counties that pay the millage will receive special benefits : free admission to the museum and expanded educational programming. Reading through the 300+ comments online reminded me eerily of the extraordinary 2010 ArtsWave report on the public value of art (full report here , my synopsis here ).
Photo by Bradlauster Note from Beth: One of the things I love about blogging is the conversation in the comments because it always leads to understanding, insights, and learning. I've been keeping a careful eye out for thoughtful comments that could turn into guest posts. That's where this post about crowdsourcing came out of it!
The team at EdVenture Children’s Museum is spreading the value of play. EdVenture Children’s Museum increased donor retention from 29% to 46% after it was able to implement technology to support its staff in stewarding existing donor relationships.
Last Friday, I witnessed something beautiful at my museum. They were in a playful mood, talking about the objects, playing the games, responding on the comment boards. I've been documenting lots of small bridging incidents at our museum over the past few months. It could have been the friendly, low-key setting.
You can join the conversation in the blog comments, or on the Museum 2.0 Like many museum and library professionals, I am enamored of the idea of cultural institutions as “third places” – public venues for informal, peaceable, social engagement outside of home or work. This is the only post written by me, Nina Simon.
I got my copy of the fall issue of Museums and Social Issues this week. The theme is "Civic Dialogue," and the journal includes articles on the historical, cultural, media, and museum practice of getting people talking to each other (including one by me about such endeavors on the web). A place many museums are not.
This guest post was written by Rebecca Lawrence, Museum Educator, Schwenkfelder Library & Heritage Center in Pennsylvania. You can join the conversation in the blog comments, or on the Museum 2.0 The Schwenkfelder Library & Heritage Center (SLHC) is a small museum located in Pennsburg, Montgomery County, Pennsylvania.
I've spent much of the past three years on the road giving workshops and talks about audience participation in museums. Feel free to add your own questions and answers in the comments! Have you seen attitudes in our field about visitor participation shifting over time? The Museum 2.0
What role does “promoting human happiness” play in the mission statements and actions of museums? That’s the question I’m pondering thanks to Jane McGonigal and the Center for the Future of Museums (CFM). Earlier today, the CFM offered a free webcast of Jane McGonigal’s talk on gaming, happiness, and museums.
I've added a fourth model to this citizen science typology, one may be more appropriate to facilities like museums than to scientific organizations: co-option. Working with the museum or using the museum as a platform to do your own thing? There is no "best" level of participation for museums and cultural institutions overall.
This week marks one month of live activity for the Tech Virtual Museum Workshop , a collaborative, online platform for exhibit development. First, if you don't know what the heck I'm talking about, please enjoy (and comment on, if you wish), this explanation (requires speakers). A month ago, I invited you to join this project.
Please add your own ideas in the comments too. Bonded groups are useful if you want to understand people's existing attitudes and impressions. For example, when we held community meetings about the development of a new creative town square next to our museum, a group of middle/upper-class moms talked about not feeling safe downtown.
Visitor (though, really my child) at the Maritime Museum, Greenwich, UK As I said, last week, I’ve been to a travelin’ girl for the last couple of years. So, instead, I am offering 3 posts this month about what I learned from visiting more than 300 museums. Last week, I talked about what I learned about museum workers.
Today, Museum 2.0 And when I think back on the last year and how it compared to year one of blogging, the shining difference is you--your interest, your comments, and most of all, your extraordinary example. I started the Museum 2.0 I started the Museum 2.0 and watched the Museum 2.0 and watched the Museum 2.0
This week, thoughts on Chapter 12 of Elaine Gurian’s book Civilizing the Museum , "Threshold Fear: Architecture program planning." In this essay, Elaine discusses the various barriers to entry for non-traditional visitors to museums, that is, the threshold fear that keeps such potential visitors from walking in our doors.
But over the last couple of months, I've learned about two tagging projects that actually get me excited-- CamClickr at the Cornell Lab of Ornithology and the Posse at the Brooklyn Museum. When museums embark on collections-tagging projects, they are almost entirely focused on this secondary benefit. And that brings us to CamClickr.
What does your museum have to say about it? What do visitors expect of museums, and what do museums expect of themselves, when it comes to timeliness? This is partially driven by museums, which want to be seen as "forums" for discourse, but also by the expectations of a media-saturated public. Pluto just got demoted.
How, he asked, could a large museum that serves hundreds of thousands of people per year foster the same sense of personal connection and community that a small one can achieve? I think small museums are generally better than large ones at fostering local communities of visitors and members.
Welcome to the second in the four-part series on comfort (and its boundaries) in museums, a day late but just as tasty. I came out of it truly amazed by the power of the museum—not just to elicit laughter, but also to induce bizarre and voluntary acts of silliness in front of and with strangers. By sending people on missions.
The exhibition of the art pre-decision exposes people to the art and creates buzz around the prize, and, more importantly, it brings museum visitors into the decision process. Nick Serota, the Tate's director, commented that "'the public display of four artists' work spurs people to reflect about art.'" Projects.
In this post, an exploration of ways that museums can support promoters, convert detractors, and generally energize visitors to share their experience with others. Supporting Promoters Somewhere out there, there are people who love your museum. Ratings and Reviews Imagine a visitor who leaves your museum enthused about her experience.
I’d poured through the various comments on the questions I asked for your predictions of the next decade. Though when I read Susan’s tweet, I did wonder how many people at 22 can get hired at a museum in anything but a part-time job. I’m not alone with a jaded attitude toward our future. But the responses depressed me.
And while many people have written ably about the ways the Obama administration is bringing a new social media sensibility to Washington, I want to share my experience of the inauguration and how it changed my attitude towards virtual participation in live events. I hope you'll share your own story in the comments.
Was it a museum professional or an outsider? I'm kneedeep in the final run-up to the opening of Operation Spy at the Spy Museum, but in the fleeting moments between disasters and near-disasters, I'm thinking about AAM. Several were created or conceived by a single person, often an artist/non-museum professional.
Today, an interview with staff from a museum with an incredibly healthy attitude towards experimentation with social media. Three things stand out in this interview: Like the Brooklyn Museum , COSI’s social media strategy is focused on local community connections, not national outreach. David: That’s right.
And while most of them aren't likely to jump at the opportunity to talk to strangers in the near future, several commented that they'd like to try more "social engineering" experiments in their lives. Has your attitude toward interacting with strangers changed during your life, and if so, when and why? This is a cultural thing.
In museums, attention to the visitor--her desires, his preferences--has grown over the last few decades. There were a couple of great comments about the tension between focus on the audience and opportunity to create something truly great. While not all of us are destined for such greatness, we all design and create for others.
For instance, the San Francisco Museum of Art has 34,678 items in its collection. To share its entire collection with art lovers, the museum created the “Send Me” bot allows anyone to send a simple text message and receive a picture of a piece of art matching the idea, words, or phrase texted.
He set up an infrastructure for people to evaluate submissions by giving it a yes, no, or maybe, with comments. There was a “let’s make it happen” attitude that I think was really appealing. I bought two; if you’d like me to mail my second one to you, leave a brilliant comment and I’ll pick a winner at random (US only for this one).
Dear friends, This is my last post as the author of Museum 2.0. I'm thrilled that Seema Rao is taking this blog and museum community into its next chapter. You can find all my archived Museum 2.0 Today, I want to share a bit about what Museum 2.0 When I think of Museum 2.0, I started the Museum 2.0
What’s in the crystal ball for museums and libraries? The IMLS (Institute for Museum and Library Services) has commissioned a preliminary proposal for an NAS (National Academy of Sciences) report on museums and libraries in the 21st century. What are the essential differences and similarities between libraries and museums?
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