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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. As one participant said, "the museum feels friendly in a way it usually doesn't."
Imagine you've just been tasked with developing an innovative, future-thinking national museum for your country's history. Blueprint is the story of a group of people who tried to create a Dutch Museum of National History (INNL). The Museum directors released Blueprint as a showcase for these plans. Where would you start?
As many of you know, I’m writing a book about participatory design for museums. The book is intended to be a practical guide to participatorymuseum experiences focused on design strategies, case studies, and activities. The WHY of participatory design is really important. And there’s a third reason.
This August/September, I am "rerunning" popular Museum 2.0 I''ve been thinking recently about how I originally got interested in talking to strangers in museums. Working in museums as floor staff cracked open the social stranger door for me. blog posts from the past. This post was requested by a long-time reader. It was blue.
George Scheer is the director and co-founder of Elsewhere Collective, a fascinating "living museum" in a former thrift store in Greensboro, NC. In this post, George grapples with the challenges of balancing the care for a museum collection with that of contemporary artists-in-residence who are constantly reinterpreting it.
Over the past year, I've noticed a strange trend in the calls I receive about upcoming participatorymuseum projects: the majority of them are being planned for teen audiences. Why are teens over-represented in participatory projects? Teens are a known (and somewhat controllable) entity.
Last week, I gave a talk about participatorymuseum 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?" Second, teens today are incredibly aware of "stranger danger."
There's a constant dialogue in participatory work about how to make peoples' contributions meaningful. I've written about different structures for participatory processes (especially in museums), and recently, I've been interested in how we can apply these structures to the design of public space.
Now, after attending with museum friends from around the country, I'm hooked. Unlike most museum experiences, where people quietly absorb the work in a room, people were very comfortable pulling each other to specific pieces and extolling their merits or less inspiring qualities. Very few wrote in typical museum or even gallery-speak.
The Art of Participation provides a retrospective on participatory art as well as presenting opportunities for visitors to engage in contemporary (“now”) works. As the museum's website puts it, "this exhibition examines how artists have engaged members of the public as essential collaborators in the art-making process."
Maybe it's a live music concert, or a museum visit, or a play. Museums and other venues are offering special programs for teens, for hipsters, for people who want a more active or spiritual or participatory experience. What are museums and arts institutions doing to tap into these forms of motivation?
As part of the article I’m working on for the journal Museums and Social Issues on using web 2.0 to promote civic discourse in museums, I’m developing an argument about the “hierarchy of social participation.” Voting, whether for American Idol, national elections, or museum kiosk surveys, falls in this category. Watch a video.
It started as a handout for a session that Stacey and I are doing at the California Association of Museums, and then I realized it was so darn useful that it was worth sharing with all of you. The majority of our public programs at the Santa Cruz Museum of Art & History are created and produced through community collaborations.
I've been thinking recently about how I originally got interested in talking to strangers in museums. Working in museums as floor staff cracked open the social stranger door for me. My first museum job was working on the floor at the Acton Science Discovery Museum in Massachusetts. It was blue. It was polyester.
Cultural Connections is a group of museum professionals who meet up a few times a year and host excellent programs on a variety of topics. This week, they hosted "Let Them Be Heard: Visitor Participation in the Museum Experience," featuring four presentations on incorporating visitors' content into museums. Here's what they did.
I spent the weekend queuing up posts for my forthcoming blog-cation--nine weeks of guest posts and reruns from 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.
On a recent trip to DC, an old friend showed me around a new exhibit at the US Holocaust Memorial Museum (USHMM), From Memory to Action: Meeting the Challenge of Genocide. The paper is perforated with one section for the promise, which visitors keep, and another section for a signature, which visitors leave at the museum.
This summer, we''re offering some amazing museum internships, as well as MuseumCamp : a weekend-long professional development experience that is part retreat, part conference, part summer camp. INTERNSHIPS If you want to join us in Santa Cruz for more professional learning, consider an internship at the Santa Cruz Museum of Art & History.
I'm gearing up for some conference talks next month, and one of these is part of a very cool session, Eye on Design, at the Western Museums Association conference. The coordinator asked several folks to pick a design trend from outside the museum world and discuss how they might be applied to museum design. But I rarely do.
I created a directional pyramid to make a point about social content in museum; namely, that museums are not offering networked, social experiences—and therefore will have a hard time jumping to initiating meaningful social discourse. And I’m not advocating that the dream museum would be all level 5 experiences, all the time.
For many museums, visitor research--how people use the museum, navigate exhibits, and understand content--may be an equally important arena in which to adopt groundswell listening techniques. I spent an hour this morning "brand listening" to what the online world says about one of my favorite museums, the Exploratorium.
When I talk about the hierarchy, I use the theoretical construct of an issue-based museum exhibit. At level one, the museum preaches to visitors about the issue. At level four, the visitor has some awareness of how other distinct visitors respond to the issue and can access their comments and opinions. with the issue.
In almost all cases, museums assure me that they want to be in conversation, that they want to be responsive, that they want to “really hear” what people think. Sadly, it was the second story that was about a museum. This is why I always say that participatory tools are about relationships, not technology. Is it a conversation?
There are lots of great science museum resources, but not where these kids can walk after school. For example, the Exploratorium is an extraordinarily participatorymuseum, but it''s not nearly as participatory as a Community Science Workshop. Any big museum has barriers and limitations to full community ownership.
On June 4, we opened The Tech Virtual Test Zone , a new 2000 sq ft gallery at The Tech Museum of Innovation featuring exhibits on the theme of art, film, and music that were originally developed in Second Life by a community of creative amateurs. Some museum pros have been puzzled by this.
They demonstrate that the blog is a more participatory vehicle than other kinds of media. They are reading it to read it--to learn, absorb, and gain awareness of new things. Museum 2.0's At ASTC in October, museum evaluation rockstar Randi Korn gave a great talk about the role of self-reflection in museum practice.
Contrasting that rich human narrative with the kind of gleamy tweaky technology narrative that was emerging from the NISE-NET meeting made me realize that generally speaking, science museums ignore many of the aspects of life that are the most resonant--mortality, sex, humor, tragedy, pity, joy. So we had the key players.
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