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re not creating a billboard, but rather starting a conversation -- you have to be willing to respond." 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." vlogging, and podcasting).
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. The point, in the context of this conversation, is that a minority of social media users are creators—people who write blog posts, upload photos onto Flickr, or share homemade videos on YouTube.
It is multi-disciplinary, incorporates diverse voices from our community, and provides interactive and participatory opportunities for visitor involvement. This post focuses on one aspect of the exhibition: its participatory and interactive elements. So many museum exhibitions relegate the participatory bits in at the end.
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. The point, in the context of this conversation, is that a minority of social media users are creators—people who write blog posts, upload photos onto Flickr, or share homemade videos on YouTube.
This week marks five years since the book The Participatory Museum was first released. I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. Since 2010 I have seen, again and again and again, how valuable human facilitation is to the participatory process.
A group in their late teens/early 20s were wandering through the museumwide exhibition on love. When I walked by the first time, the teens were collaging and Kyle and Stacey were talking. I don't know what formed the bridge between the artists and the teens in this circumstance. Kyle had brought his baby with him.
When I look back at some recent projects that I''m most excited about (like this teen program ), I realize that I had very little to do with their conception or execution. Participatory work can be very labor-intensive. One on side are the conversations we have with our visitors, which mostly focus on engagement experiences.
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. folk through comments, emails to me, and hallway conversations. 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 had this dream that I would write about a topic they cared about, send them an email about it, and maybe the conversation would go somewhere. Find a starting point for conversation.
We have different conversations on the phone than we do in person or in internet chat rooms. The outcome of our conversations is dependent on the diversity of designed environments in which they occur. Tags: Talking to Strangers design participatory museum usercontent interactives.
The people were of all ages--moms with babies strapped to their fronts, six year-olds using skillsaws, pre-teens building robots, teenagers doing homework. For example, the Exploratorium is an extraordinarily participatory museum, but it''s not nearly as participatory as a Community Science Workshop.
In many museums, comment cards are currently the most "participatory" part of the visitor experience. There are few, if any, ways to write back and continue the conversation with the visitor who commented. It may be useful if you want to ask "What kind of teen programs should our museum offer?"
When I watch the videos teens created at the Exploratorium and post on YouTube, I see the aspects of the exhibits they thought were most important to share with their classmates. Tags: Book Discussion: Groundswell marketing participatory museum. The experience, the director commented, was so painful that they would never repeat it.
It opens up new conversations about the work of art in our communities. Every other year, they convene TUPAC, a group of 35 outside advisors, including teens, college students, Temple University professors, artists, philanthropists, and community leaders. It takes the kind of risks that a university art gallery should take.
I was amazed by the number of conversations I had when I arrived at FreelanceCamp that went something like this: Me: Have you lived in Santa Cruz for a long time? Projects participatory museum. Audience Development These events bring in new audiences in a comfortable context. Other person: Oh yeah. several years.
Teens advocating for all-gender bathrooms. That means offering clear, visible, appealing participatory experiences that enhance the destination experience. If you are reading this via email and would like to share a comment or question, you can join the conversation here. Printmakers leading workshops. You get the idea.
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