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Jasper Visser and his colleagues at the not-yet-physically-open National Historisch Museum of the Netherlands have impressed me with their innovative, thoughtful approach to developing a dynamic national museum. In this post, Jasper shares some lessons learned from a recent experiment to design a more social comment station.
For the social media library giveaway I asked folks to leave a comment on how they would use the books to shape their 2010 social media strategy. I had over 60 comments and boy was it hard to choose only one winner - so I didn't. Brian Reich author of Media Rules left a comment offering to include a copy of his book.
My favorite chapter is “Reimagine: Don’t Recycle: Anatomy of Content Circle of Life.&# Using a plant life cycle as a metaphor, they offer a framework for how to think about content that is life-giving, but also more efficient to produce. Here’s an example from the Metropolitan Museum of Art.
He is also a member & ambassador of the Anchorage Chamber of Commerce Board and a member and the BNI Alaska Business Pipeline Chapter, a business referral networking group. Jude, Make A Wish, American Cancer Society, and The Museum of African American History. Dan is bilingual in English and Spanish.
This is the third in a four-part series about writing The Participatory Museum. This post covers my personal process of encouraging--and harnessing--participation in the creation of The Participatory Museum. Every non-spammer editor who signed up was granted full access to change and comment on the content.
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.
This is the second in a four-part series about writing The Participatory Museum. Several hundred people contributed their opinions, stories, suggestions, and edits to The Participatory Museum as it was written. Another commented: "At first, I wasn't sure whether or not my responses were useful to anybody. What did they do?
Responsively designed for both desktop and mobile devices, customers can buy, share, like, comment and checkout all from your nonprofit’s Facebook Page. Microsoft Local Impact Map is a low-cost visual mapping tool ideal for nonprofits that have multiple chapters or programs. Museum of Me :: intel.com/museumofme.
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. COST: Museum books tend to be expensive - because they are printed in small runs, the price for a 400-page paperback can be as high as $40. Why Self-Publish?
Museum of Me :: intel.com/museumofme. A Facebook app that creatively displays you and your Facebook friends in a virtual museum. Ideal for organizing regional chapters, activists, or special events, Meetup makes it easy for nonprofits to organize supporters online to then meet up face-to-face offline. Meetup :: meetup.com.
You can now read all the chapters in The Art of Relevance for free online. You can still buy The Art of Relevance as a paperback, ebook, or audiobook--but you can also read any chapter, any time, online. You can also post comments on any chapter, adding your reactions and questions to the published content.
It was good opportunity for me to look back at the crowdsourcing chapter in our book, The Networked Nonprofit , and update the examples and thinking. The presentation was followed by a discussion about how one might evaluate efforts to engage crowds. Crowdsourcing for knowledge creation can include “mashups of data.&#
Dear Museum 2.0 My book, The Participatory Museum , has done incredibly well so far, but there's a problem: the interactive components aren't working. They're simple --you can comment on any given chapter, or you can write a review of the whole book. Tags: Book: The Participatory Museum. Thanks in advance.
Drop us a line or include your links in the comments! The official selections will be announced by the end of July and the festival will take place at the Spirit of Texas Theater at the Bob Bullock Texas State History Museum in Austin, Texas on September 12-14. Share your links in the comments! Have more news to share?
In 1990, educator and cultural critic Neil Postman described a museum as "an answer to a fundamental question: what does it mean to be a human being?" Without an explicit "I" voice, the museum's perspective on humanity is oblique to say the least. Welcome to Pine Point is not a museum project. It tells layered personal stories.
This is the first of a four-part series on the behind-the-scenes experience of writing The Participatory Museum. Please let me know in the comments if there's anything in particular you want to know about - I'm happy to share whatever interests you. Many of the book sections started as blog posts on Museum 2.0. Copy editing.
I've spent much of the past three years on the road giving workshops and talks about audience participation in museums. Feel free to add your own questions and answers in the comments! The Museum 2.0 For more on the differences among different types of museums (with examples), check out this post.
Audience segmentation and research has become a hot topic in museums, especially when it comes to crafting appealing offerings that are customized to different kinds of visitors. I sat down with Kristen Denner, Director of Membership and Annual Fund, to learn more about the program's development and the museum's goals for its future.
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.
I don't know - and I hope you'll share your thoughts in the comments. Most museums that offer interactive exhibits, media elements, or participatory activities offer them alongside traditional labels and interpretative tools. So what's the solution? Dias de las Muertos or Chinese New Year to attract new audiences.
This week, we look at Chapter 5 of Elaine Gurian's book Civilizing Museums , Choosing Among the Options: An opinion about museum definitions in two parts. First published in Curator magazine in 2002, this essay presents five different museum "types" and their distinct opportunities and challenges.
For me, it's the beginning of chapter 8, in which J. William Goldman does something similar with The Princess Bride, commenting about dreadfully dull chapters he has omitted for the reader's sanity. But it's not so easy to integrate into larger-scale museum writing. What does Peter Pan make you think of? Julie Andrews?
Chapter 6 of Measuring the Networked Nonprofit focusing on examples of how you measure engagement which begins with formulating your engagement model. The steps include reading, commenting, and sharing stories of personal behavior change. In the for-profit world, it is called the sales funnel.
In the spirit of a popular post written earlier this year , I want to share the behind the scenes on our current almost-museumwide exhibition at the Santa Cruz Museum of Art & History, Santa Cruz Collects. As always, I welcome your questions and comments. Pocket Museums in bathrooms. Digital Collections comment wall.
Dear Museum 2.0 readers, I'm almost done with the first draft of The Participatory Museum: A Practical Guide , a book that explores the theory, practice, and design techniques for involving visitors and community members in the creation and sharing of cultural content. Want to help substantively with the content of the book?
That said, I sympathize with the challenges involved in designing something like this--challenges we faced again and again when I was working on the Operation Spy immersive experience at the International Spy Museum. Could 5th graders handle a truly open simulation? Maybe, maybe not.
I've included a sampling below, and hope that you'll add other events in the comments. 100% of the royalties from Celebrating Women go to the International Museum of Women. For others, it is a day of political significance to raise awareness around women's rights. Cross-posted from BlogHer.com. Britt Bravo is a Big Vision Consultant.
This week, thoughts on Chapter 12 of Elaine Gurian’s book Civilizing the Museum , "Threshold Fear: Architecture program planning." In this essay, Elaine discusses the various barriers to entry for non-traditional visitors to museums, that is, the threshold fear that keeps such potential visitors from walking in our doors.
Welcome to the first installment of the Museum 2.0 While every post at Museum 2.0 solicits (directly or indirectly) your comments and response, this one is special. I hope these book club posts can serve as invitations for lively discussion in the comment section. virtual book club. Where are there passes available?
This week, a look at Chapters 16 and 17 of Elaine Gurian's Civilizing the Museum. Why don't more museums do this? Many museums, especially large ones, exhibit the worst of the feudal cubicle wars--the Collections Department vs. the Exhibition Department vs. the Education Department.
This is the final installment of the Museum 2.0 book club on Civilizing the Museum; The Collected Writings of Elaine Heumann Gurian. I’d like to do more book clubs in the future; please let me know if there are any particular books on museum theory, design, innovation, etc. that you would recommend for Museum 2.0.
By "mission-based institutions," I mean museums, libraries, theaters, parks, churches, synagogues, afterschool programs, informal science programs, zoos, aquaria, symphonies, historic sites, dance companies. I am continually grateful to all of you who read, share, and comment on this blog. The result is this book.
This is the penultimate installment of Museum 2.0's s book club on Elaine Gurian's collection of essays, Civilizing the Museum. Next week, we'll conclude by talking about opportunities for institutional change with chapter 8, "Turning the Ocean Liner Slowly." have portrayed Indians inaccurately."
A few weeks ago, I participated in a Reach Advisors "museum conversation" with Web 2.0 The examples are primarily focused on large businesses with budgets much higher than those of museums, but the lessons learned are highly transferrable. Shouldn't we make it this easy to evangelize museum products? marketing.
Chapter 9 focuses on "embracing" the groundswell, or finding ways to involve users in the development of new products, services, and strategies. How many museums have stacks of comment books that are only culled for the gushing quotes that belong on annual reports? But getting information from visitors is not enough.
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.
Last week, I went to an event at the National Museum of the American Indian to support the publication of Elaine Gurian's new book, Civilizing the Museum , which comprises 22 essays written over 35 years of experience developing and leading museums around the world. So do museums. What does this mean?
Two weeks ago, I conducted a participatory exhibit design workshop with staff at the Smithsonian National Museum of Natural History. Between the giant squid brainstorming and experimentation, I gave a talk to the larger Smithsonian Institution about multi-platform museum experiences. The slides are also available for download.
I've spent the last two weeks working on the third chapter of my book about network effects of social participation. And it's brought me back to a blog post I wrote a year ago about the Science Museum of Minnesota's Race: Are We So Different? But designing an entire museum that functions this way probably isn't your goal.
This week, we're covering the second objective in Charlene Li and Josh Bernoff's book Groundswell : talking (chapter 6). The simplest way is to be a commenter—to follow blogs and sites related to your institution and share your own observations and helpful tips. Consider the path of the Bay Area Discovery Museum.
This week, we're covering the first objective in Charlene Li and Josh Bernoff's book Groundswell : listening (chapter 5). 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.
On Tuesday, I reviewed Elaine Gurian’s essay, Choosing Among the Options , on museum archetypes and self-definition. Next Tuesday, we'll look at chapters 16 and 17, on the merits and limitations of the team approach to exhibition design.) What if you don’t want to be identified as one type of museum? It did that more than once.
Jeremy Price offered a comment on my last blog post with a link to an excellent article by Lee Shulman on the uses and abuses of taxonomies in educational theory. Shulman offers the great example of doctors, relating a comment from a surgeon that, “’Internists make a diagnosis in order to act. Back to my diagram.
This week, we're covering the fourth objective in Charlene Li and Josh Bernoff's book Groundswell : supporting (chapter 8). This chapter is perhaps the most surprising in the book, because it focuses on tools and techniques that predate Web 2.0 Why should museums care about customer support? by years: customer support forums.
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