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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." " He describes what Ian observed what happened with his youth audience. Expressions (media creation, mashups, etc).
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 ).
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 ).
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 teenaudiences. Why are teens over-represented in participatory projects? Why are teens over-represented in participatory projects?
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?" Many teens love to perform for each other. First, teens often have incredibly tight social spheres.
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.
I've written before about the difference between participatory processes and products , but this question of frameworks and sensibility is more broadly applicable to community engagement strategies. And other times, when I'm focused on opening up access and opportunities for audience members to partner with staff, I'm talking about framework.
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. It was pretty freaking amazing.
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.
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''ve struggled with some of the "celebrity" aspects of having a big audience. I''ve never taken a break from blogging before.
At the big one, I worked on a small project with teens to design science exhibits for community centers in their own neighborhoods. 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.
Visitor Co-Created Museum Experiences This session was a dream for me, one that brought together instigators of three participatory exhibit projects: MN150 (Kate Roberts), Click! So far, most participatory museum design projects are heavily guided by the institution. MN150 will have formal summative evaulation, which is wonderful.
If museums get involved in these online-offline partnerships, we can bring new audiences through our doors, familiarize them with museum-going in a comfortable way, and reap the benefits of their online musings about their real-life experiences. But these events have benefits both in terms of audience development and word-of-mouth marketing.
If you feel that your audience needs monitoring or social support, position the talkback stations in open settings. There was a wonderful example at the Ontario Science Center in their Hot Zone area, which features several voting and commenting kiosks popular with teens. What have you seen work well, and what have you seen fail?
This seems a little ungenerous to museums; while institutions may bestow more love upon wealthy, elderly donors than the general visiting public, museums have actively courted mass audiences for years. We're always happy for more bodies in the door, but if supporting teens means alienating seniors, there's a problem.
Teens advocating for all-gender bathrooms. They can attend first as audience members or spectators, checking out the space and getting comfortable. That means offering clear, visible, appealing participatory experiences that enhance the destination experience. Printmakers leading workshops. You get the idea.
Every other year, they convene TUPAC, a group of 35 outside advisors, including teens, college students, Temple University professors, artists, philanthropists, and community leaders. Leave the process to the collaborators and give the product to the audience. You promise your audience quality and you hone your process to deliver it.
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