Remove Blended Remove Children Remove Participatory Remove People
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Wandering Down the "Don't Touch" Line

Museum 2.0

I grew up professionally in the science and children's museum field, where touching is guaranteed and floor staff spend more time helping visitors learn and ensuring their personal safety than they do protecting the objects. We've increased attendance among people who are new to museum experiences. all over the place.

Museum 49
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17 Ways We Made our Exhibition Participatory

Museum 2.0

It was fascinating to see people--across social differences--responding to representations of love in the paintings, images, objects and narratives that were part of the installation. It is multi-disciplinary, incorporates diverse voices from our community, and provides interactive and participatory opportunities for visitor involvement.

professionals

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Mixing Digital and Physical: The Holocaust Museum's Handwritten Pledge Wall

Museum 2.0

The USHMM pledge wall is notable for its blending of digital and analog technologies. This case full of real people's handwritten signatures is reminscient of the haunting pile of Holocaust prisoners' shoes in the permanent exhibition, providing a hopeful complement to that devastating set of artifacts.

Pledge 23
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Advice: An Exhibition about Talking to Strangers

Museum 2.0

Facilitated/Unfacilitated Blend When we started this course, I really pushed the students to think about ways to induce unfacilitated interactions among strangers. Then, they offered different shapes and colors of post-its, as well as pens and markers, for people to write responses. and put them up on signs behind glass.

Advice 31
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The Great Good Place Book Discussion Part 5: Oldenburg on the LAM

Museum 2.0

Suzanne: That key thing for Oldenburg is that you go to interact with people. A clique can take over and drive away people who don't fit. People will not always do the right thing. We need to set up spaces in which doing the right thing--welcoming all kinds of people--is easy, facilitated and enforced. In the 1930s, W.E.

Place 30