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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???,
Mary Warner, the Museum Manager at the Historical Society, wrote a series of moving articles for her museum newsletter and later for the AASLH’s Small Museum Online Community about her experiences tackling big issues in a small museum. How do we get the history of the poor? But how did this specific project get started?
This August/September, I am "rerunning" popular Museum 2.0 It’s an uncomfortable truth which is forcing me to examine my arguments for inclusivity, access, and populism in museums. I realize that I have more frequently advocated for Yellowstone-style museums than Grand Teton-style ones. blog posts from the past. It’s true.
Whether it was changing computers, cameras, cd players, or anything else, she was there with an attitude of, “let’s make this work!&# She was the one that took me to the overnight events at OMSI (Oregon Museum of Science and Industry) where I had my first go at building robots.
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.
In other words, they need to import not only the can-do attitude of Silicon Valley, but also the culture of cross pollination that continues to beckon aspiring entrepreneurs from across the country and the world. They need to create competition for each other and in doing so provoke each others’ creative and innovative juices.
Written by Seema Rao Last month, I shared some of my thoughts about the best of museums over the last decades. (I I'll mention now, Kate Livingston, listed Museum Twitter as one of the best things, and I definitely thought this as I read people's responses. Many respondents talked about a fundamental shift in museums from them to us.
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.
For instance, a large nonprofit focused on preserving arts and culture might segment its audience by location and focus its stories on the most well-known museums or cultural landmarks in a donor’s state. Often their personality, values, opinions, interests, and attitudes draw them to your organization in the first place.
In the final installment of Museum 2.0’s s four part series on comfort in museums, we get down to the basics: creature comfort. So for this last piece, we look at going the other way: making museums more physically comfortable. And on the walls, my friend explained, was art from the museum itself. There was funky music.
Back to Viz Basics - Build a symbol map–interactive visualizations that use symbols to represent data points on a map–using geographic data for African American Museums in the United States.
Back to Viz Basics - Build a symbol map–interactive visualizations that use symbols to represent data points on a map–using geographic data for African American Museums in the United States.
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 should be measured are shifts in awareness, comprehension, attitude and behavior related to donations, purchase, branding, reputation, public policy, employee engagement, and other shifts in audience beliefs or behaviors related to SMART objectives. Here’s an example from the Metropolitan Museum of Art.
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.
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.
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.
We've gotten a little more organized at The Museum of Art & History , and we've now released opportunities for summer internships. These are unpaid part-time and full-time opportunities to help design public programs, develop new uses for the museum, perform visitor research, and pursue unusual projects.
I've spent much of the past three years on the road giving workshops and talks about audience participation in museums. Have you seen attitudes in our field about visitor participation shifting over time? The Museum 2.0 For more on the differences among different types of museums (with examples), check out this post.
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.
This problem is analagous to the repeat visit problem for museums. Museum visits, like book reading, can be an intense and wonderful experience. But is one museum visit enough to compel a second visit? How do you encourage visitors to have a sense of pervasive experience with the museum? But the approach is valuable.
Last Friday, I witnessed something beautiful at my museum. I've been documenting lots of small bridging incidents at our museum over the past few months. It could have been the attitude of the museum that supports participation and conversation. At museums, we mostly bond with the friends and family with whom we attend.
The following post was originally published on the Center for the Future of Museums blog. On Wednesday, August 8, over 300 museum professionals joined CFM director Elizabeth Merritt and Seema Rao, principal of Brilliant Idea Studio , to explore self-care in the museum workplace. But effort and efficacy are not the same.
If they can no longer make the call, reassign quickly, make the call yourself, or find a VIP on your team to make the “wow” surprise call (imagine how the donor might feel getting a call from a museum curator, doctor in charge of research, playwright, celebrity chef volunteer, lead attorney on a civil rights case, etc.). Transparency.
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.
About three months ago Beth Kanter wrote about the Crowdsourcing of Vision at the Smithsonian Museum. 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!
This week marks one month of live activity for the Tech Virtual Museum Workshop , a collaborative, online platform for exhibit development. But museum folks, no matter how much we want to collaborate, don't move quickly. Why not apply the same attitude to our own staff? A month ago, I invited you to join this project.
Participating in this made me wonder: could a museum or library run a project like 3six5? From my perspective, there are two primary barriers that would prevent a museum from running a project like this: Perception of lack of significance. The reasons to do so are many, particularly for a history-focused institution.
I took several different types of project based design courses over the span of a year: DesignLab , Udemy, Skillshare, General Assembly , and School of the Museum of Fine Arts at Tufts University (SMFA). My goals evolved throughout the year+, but they all revolved around learning, and gaining experience.
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.
posted by Karla Lant Lead Writer, Museum of Science and Sustainability. Will you use poll data in your area to assess attitudes? Lant serves as the Lead Writer for the Museum of Science and Sustainability. Every marketer understands the challenge of competing for attention among a sea of content with limited resources.
It’s an uncomfortable truth which is forcing me to examine my arguments for inclusivity, access, and populism in museums. I realize that I have more frequently advocated for Yellowstone-style museums than Grand Teton-style ones. I like my parks hard to access, sparsely populated, and minimal in services. They are elitist jerks!
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.
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.
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.
I've wondered for a long time about the potential for museums (especially interactive science centers) to operate on a "pay to play" model where visitors choose specific content of interest to invest their time and money into. So why haven't we seen museums that operate like arcades? I'm skeptical of these arguments.
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.
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.
With this in mind, I’m starting to think about design techniques that encourage use, as opposed to visits, of museums. It’s about attitude. That’s why museums offer varied content and exhibitions—so you can have your bedroom and I can have my kitchen. Now the museum outlook seems grim. I’m not at home. I’m visiting.
Ravon Ruffin and Amanda Figuero - Claiming Space for Brown Women in the Digital Museum Landscape Based in Washington DC, Brown Girls Museum Blog is a new-ish site led by graduate students Ravon Ruffin and Amanda Figueroa. The Museum of Impact is a pop-up project of short-term exhibitions on urgent topics of social justice.
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