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I also had an opportunity to attend a couple of sessions that used participatory facilitation techniques. If you are new to participatory facilitation techniques, use the Spectagram as an opener and use it to better understand skill levels in the room. Here’s what I learned. Spectragram. Next, try provocative statements.
There are different ways to design a participatory workshop. The assessment helps nonprofits look at eight different areas: Technology, Content, Channels/Devices, Audiences, Analytics, User Experience, and Governance. We were asked to brainstorm ideas in each category, jotting down notes on the post it notes and adding to the wall.
In 2009 , students built a participatory exhibit from scratch. Thirteen students produced three projects that layered participatory activities onto an exhibition of artwork from the permanent collection of the Henry Art Gallery. I suspect these big ideas were opaque to most visitors. This year, we took a different approach.
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.
offers personal insights in opening up to new ideas and letting go of information, hierarchy and "proprietary" thinking. 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."
The event will end with an “ Idea Accelerator ” where participants will have an opportunity to develop and pitch an actionable idea for feedback and funding. What great about this conference is that we will have creative immersion and change to “sleep on our ideas.”
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. Forrester created the “social technographics” profile tool to help businesses understand the way different audiences engage with social media (and you can read more of my thoughts on it here ). Consider a mural.
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. Forrester created the “social technographics” profile tool to help businesses understand the way different audiences engage with social media (and you can read more of my thoughts on it here ). Consider a mural.
This person is writing about a participatory element (the "pastport") that we included in the exhibition Crossing Cultures. The idea was that people would spin the wheel and start a conversation. Often when I talk with folks from other institutions about visitor/audience participation, the focus is on one form of participation.
The goals need to be front and center through the entire process, particularly when the measurement approach is more new or participatory and is designed to evolve over time. Who is your audience? I’m looking forward to being one of the public who gets to benefit from their courage and transparency.
Maybe that made a whole new set of people more empathetic to the idea of accessibility. The “checkbox” approach to accessibility rested on the idea that someone—usually a developer —managed accessibility and had the power to make a website accessible or not accessible. We can’t access information. We can’t connect. We can’t contribute.
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." We want to cultivate a more diverse audience, especially younger people, and we want to do it authentically." Audience development is not an exercise in concentric circles.
I've spent much of the past three years on the road giving workshops and talks about audience participation in museums. BROAD QUESTIONS ABOUT AUDIENCE PARTICIPATION 1. Are there certain kinds of institutions that are more well-suited for participatory techniques than others? Yes and no.
Lee Rainie, Director, Internet & American Life Project, Pew Research Center took us through the impact that the use of online digital tools is having on us personally, professionally, and society. His presentation was called “Personal, Portable, Participatory, and Pervasive.” Sample survey.
This is the final segment in a four-part series about writing The Participatory Museum. This posts explains why and how I self-published The Participatory Museum. While some aspects are quite technical and specific, it should be useful for anyone considering writing a book for a niche audience. Check out the other parts here.
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.
Our museum in Santa Cruz has been slammed by those who believe participatory experiences have gone too far. We always knew that the inclusion of participatory and community-centered practices in arts institutions was controversial. To me, the backlash against participatory and community-centered experiences is not surprising.
I''ve spent much of the past three years on the road giving workshops and talks about audience participation in museums. BROAD QUESTIONS ABOUT AUDIENCE PARTICIPATION 1. Are there certain kinds of institutions that are more well-suited for participatory techniques than others? Yes and no.
They invite people to participate: in design , prototyping , artifact interpretation , collections preparation , audience development. A strong participatory process is not a loosey-goosey, open the doors and do whatever strategy. design inclusion institutional change participatory museum' It''s serious.
Last month, I learned about a fabulous, simple participatory experiment called “Case by Case” at the San Diego Museum of Natural History that uses visitor feedback to develop more effective object labels. Our exhibits group knocked around ideas for mechanisms of audience feedback.
Whether you work for a small staff or you’re a bigger nonprofit with a clever new idea, crowdfunding can help you put your plans in motion. To that end, it might be a good idea to incorporate text editing platforms such as Grammarly into your writing process. Give clear participatory instructions.
What do you do when you encounter a really great and unusual idea, one that you could implement but would require you to change some aspect of what you are currently doing? I'm working on a personal project (slowly) to open a cafe/bar venue that is also a design incubator for participatory exhibits. Do you jump in or do you shelve it?
Their space is designed for local nonprofits to connect, share ideas and develop solutions together. My style of teaching is participatory; I don’t lecture with PPT endlessly and involve the audience. My audience included many people who were blind.
TechCrunch Early Stage marks our first in-person event since the pandemic started, and we’re absolutely thrilled to be back in the same room as our audience and speakers (with full precautions taken, of course). Brands are participatory, so you create your own brand story at launch, but others define it as you grow.
Mission-driven organizations rely on Forum One to bring their ideas to life through designs that inform and inspire action. Understand client and audience needs. Audiences are the ultimate arbiters of whether a design works or not, and audiences know what they need. Good design is engaging, attractive, and usable.
This past weekend, in conjunction with our exhibition about Ze Frank's current participatory project, A Show , we hosted " Ze Frank Weekend "--a quickie summer camp of workshops, activities, presentations, and lots of hugging. Or that we take a group photo together at the end of the day. All in all, a beautiful and stimulating weekend.
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.
Last week, I gave a talk about participatory museum practice for a group of university students at UCSC. During the ensuing discussion, one woman asked, "Which audiences are least interested in social participation in museums?"
We''re more successful when we target particular communities or audiences and design experiences for them. In the past, I''ve subscribed to the theory that an organization should target many different groups and types of people to serve a constellation of specific audiences across diverse affinities, needs, and interests.
When talking about active audience engagement with friends in the museum field, I often hear one frustrated question: how can we get adults to participate? There are many participatory experiences that appeal primarily to adults, and they are designed distinctly for adults.
Here's the short version (read the whole thing here ): The Museum of Art & History is committed to creating exhibitions that inspire our diverse audiences to engage deeply with contemporary art and Santa Cruz County history. It's a working document, and we mean to put it to work planning new projects with our partners.
but at first scan nothing earth shattering - except for the idea about communications with the general public and foundation's embracing the groundswell. But there is also the sense that whatever is lost in message control will be more than made up for by the opportunity to engage audiences in new ways, with greater programmatic impact.
Our work to transform the Santa Cruz Museum of Art & History into a participatory and community-centered place has been heavily supported by the James Irvine Foundation. The report is a slim 12 pages on the common characteristics of arts organizations that successfully and continuously engage diverse audiences. Core Museum 2.0
The theme should resonate with both the AAPI community and also general audiences. Some ideas for potential speakers and honorees: Local AAPI elected officials, such as city council members or state representatives. Spreading the Word: Promotion That Connects Reaching a broad and diverse audience is key for AAPI Heritage Month events.
I did happen on the idea that providing a valuable service would be a worthwhile thing to do. Who is the audience for your feed? What are the values of tagging for you and your audience? I stumbled upon the RSS feed idea when I noticed it was available at the bottom of my del.i.cio.us Juicy Pods is not really running yet.
It can be incredibly difficult to design a participatory project that involves online and onsite visitor engagement. hinges on the ideas experimentation, uncertainty and partnership. We took a HUGE risk when we trusted our audience to help us create something cool, not only on the web, but in a museum.
And so, one of the most successful, accidental, and fraught participatory projects of the past decade comes to an end. No one planned the love locks, but their success is rooted in the same principles that make all the best participatory projects work: it requires no instructions beyond its own example. Nor are they historic.
What happens when a formal art museum invites a group of collaborative, participatory artists to be in residence for a year? Several artists offer surprising insights into making participatory projects appealing to visitors. Two person audiences in the Little William Theater. No, this is not a reality TV show. Eric: Absolutely.
Come up with ideas, both crazy and practical, for how you might redesign the exhibit to improve its shareability. When you're done, go on a tour of the "redesigned" vision for the museum with your colleagues, sharing your new creative ideas. Tags: design participatory museum. Discuss your findings with colleagues.
Here, in no particular order, are the things that energized me most: "No idea is too ridiculous." I found this idea really powerful. It was terrific to have a packed room and a long, open conversation (we split the session into half presenting, half audience discussion) about these issues. I host dating games.
Museums and other venues are offering special programs for teens, for hipsters, for people who want a more active or spiritual or participatory experience. Others layer these new activities and audiences on through monthly late nights or short-term installations. Each time I go (about four times a year), I have a fabulous time.
Others went on to crown the achievements from the participatory public sphere that have arisen as a result of increased access to content. Spawned by exaggerated fears, governments and content publishers distrusted their constituents or audiences and would only release information once it had been filtered, cleansed, or massaged.
My story is more a case of "Getting Hired: It's What You Want, How Aggressive You Are, and What Ideas You Can Offer." I learned to appreciate the audience reach of a big institution while vastly preferring the diversity of work and lack of bureaucracy of a small one. Part 3: It's What Ideas You Can Offer I started the Museum 2.0
You''re in for a treat, with upcoming posts on creativity, collections management, elitism, science play, permanent participatory galleries, partnering with underserved teens, magic vests, and more. I had no idea how to reasonably approach them or talk to them in the cocktail party milieu of big conferences. To me, Museum 2.0
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