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--Helene Moglen, professor of literature, UCSC After a year of tinkering, the Santa Cruz Museum of Art & History is now showing an exhibition, All You Need is Love , that embodies our new direction as an institution. This post focuses on one aspect of the exhibition: its participatory and interactive elements.
Nina has written a fantastic book engagement called The ParticipatoryMuseum. A third argues that the project won’t be truly participatory unless users get to define what content is sought in the first place. I’ve been using these participatory categories to talk about how we’d like users to participate in different projects.
Beck''s project is unusual because he deliberately resurrected a mostly-defunct participatory platform: sheet music for popular songs. In his thoughtful preface to this project, I reconnected with five lessons I''ve learned from participatory projects in museums and cultural sites. Constrain the input, free the output.
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.
I'm reminded of the March of Dimes - flickr contest - that asked people to photograph where they kept their change because a handful of change is what preemie weighs at birth. I read a post about user-generated content from the fresh+new blog which is focused on new media in museums. Not sure if this includes a cash prize.
On October 20, a young woman named Kate will move into Chicago's Museum of Science and Industry and live there for a month. This post is not about the Month at the Museum concept or implementation. Instead, this post focuses on a fascinating aspect of Month at the Museum: the video applications. That will come later.
When I announced the contest, I thought there was one important book missing, Shel Israel's Twitterville. The runner up winner was Maureen Dowd from Open Museum What I propose to do with the library you are offering is read it, try it, share it, and let you know how it works for me, my colleagues and the people we influence.
This week marks five years since the book The ParticipatoryMuseum was first released. Across the museum field, the questions about visitor participation have gone from "what?" I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. and "why?"
It's not every day that a visitor buys pizza for everyone in the museum. Then again, Saturday was hardly normal at the Santa Cruz Museum of Art & History. The museum itself was well-integrated into the event. Or that visitors form a spontaneous "laugh circle" on the floor. Online to onsite migration isn't always easy.
Sometimes the negotiation is contested. The museum invites art-making in the elevator. institutional change relationships participatorymuseum Unusual Projects and Influences game visitors' Sometimes the negotiation works beautifully. Sometimes the negotiation can be exploited for artistic means.
This guest post, written by Philippa Tinsley, Collections Manager for the Worcester City Art Gallery and Museum (UK), describes the innovative Top 40 exhibition they mounted in the summer of 2009. In my experience, museum professionals aren’t big reality TV viewers.
There are lots of museums (and organizations of all kinds) looking for ways to inspire users and visitors to produce their own content and share it with the institution online. The World Beach Project is managed by the Victoria and Albert Museum in London with artist-in-residence Sue Lawty. It's not marketing hype.
I was thinking I’d do a few alternative histories of museums for the first post of the last month of the decade. As I imagined a world without the many museum tech projects of the decade, I felt inherently sad about the imagining away the successes that friends and colleagues have enjoying. But I couldn’t get there.
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.
This is the second installation in a series of posts on the Santa Cruz Museum of Art & History (MAH)'s development of Abbott Square , a new creative community plaza in downtown Santa Cruz. Or “I love the MAH because it is a truly participatory space where diverse groups can enjoy, express themselves, and learn from/about/with others.”
How many museums have stacks of comment books that are only culled for the gushing quotes that belong on annual reports? Many staff react against this, saying that curation is the museum's job and shouldn't be reduced to a popularity contest. Many museums claim to be (or desire to be) accountable to their local communities.
While this post is not about museums, it tells the story of how a performance group developed participatory elements as an integral part of their show. By 1973, we’d added our first audience participation segment, the Dance Contest. It was a real contest, with actual contestants “who these guys have never met before.”
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. It also focused the experience.
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