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Ruth Cohen – American Museum of natural History. Jason Eppink – Museum of the Moving Image. Ruth Cohen – American Museum of natural History. We are trying to change the visitors’ experience at the museum as well as ownership of what is in the museum, break down the walls between the public and the museum.
A new company in New York, Museum Hack , is reinventing the museum tour from the outside in. They give high-energy, interactive tours of the Metropolitan Museum and the American Museum of Natural History (AMNH). The tours are pricey, personalized, NOT affiliated with the museums involved… and very, very popular.
Last week I facilitated the “ Impact Leadership Track ” at the NTEN Leading Change Summit with John Kenyon, Elissa Perry, and Londell Jackson. Here’s what I learned: Facilitation Teams. Often, facilitation teams are brought together by an event host. Photo by Trav Williams. Do you have a preferred method?
Last week, I visited the Wing Luke Asian Museum in Seattle. I've long admired this museum for its all-encompassing commitment to community co-creation , and the visit was a kind of pilgrimage to their new site (opened in 2008). I'm always a bit nervous when I visit a museum I love from afar. What if it isn't what I expected?
I get excited about a lot of things in my work at the Santa Cruz Museum of Art & History. That's how I felt when artist Ze Frank got in touch to talk about a potential museum exhibition to explore a physical site/substantiation for his current online video project, A Show (s ee minute 2:20, above).
Last week I was in Chicago to facilitate a session about leadership and social media as part of Knight Digital Media Center’s Digital Strategy for Community Foundations and Nonprofits. The workshop is co-presented by S tanford Center on Philanthropy and Civil Society. Lean on Your Staff.
I'm thrilled to share this brilliant guest post by Marilyn Russell, Curator of Education at the Carnegie Museum of Art. This is a perfect example of a museum using participation as a design solution. The activity was facilitated by the activity station set up in the lobby just outside the gallery. SOLUTION: POST-IT NOTES?
What kind of action and interaction already happens, and what actions or interaction are they looking to find? At least if you plan on interacting with them! And finally, you want to identify the roles needed to create, facilitate, and implement the programs and services you design with the community. Innovation Today.
Last week, I facilitated an interactive keynote in Seattle at 2011 Tech for Good Leadership Summit sponsored by Microsoft Community Affairs , in partnership with NPower Seattle. By all accounts , the event held the space for peer learning. Watech4good Summit. View more presentations from Beth Kanter. It’s a design challenge.
This August/September, I am "rerunning" popular Museum 2.0 Diane is both visionary and no-nonsense about deconstructing the barriers that many low-income and non-white teenagers and families face when entering a museum. Most large American museums are reflections of white culture. blog posts from the past.
I recently read the BERI report on bilingual labels in museums and was blown away by its findings. in Applied Social Psychology and has evaluated and researched informal learning experiences in museums and other visitor institutions for over 20 years. is a controversial topic, and the same is true in museums.
Note from Beth: I had pleasure of facilitating a panel discussion in October at the recent Grantmakers in the Arts pre-conference on technology and media with Rory MacPherson where I learned about some of the preliminary study result he discovered. There’s more, of course.
Spend less time tracking down late membership fees and sending renewal notices and more time interacting with your members and building genuine relationships. View an engagement timeline with all member interactions, from emails they’ve opened to events they’ve attended. Save time through automation. transaction fee. Smart reporting.
Recently, I was giving a presentation about participatory techniques at an art museum, when a staff member raised her hand and asked, "Did you have to look really hard to find examples from art museums? Aren't art museums less open to participation than other kinds of museums?" I was surprised by her question.
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.
What I Learned Part 1: Facilitation is Powerful When I taught this class the first time, I put a real premium on the idea of designing participatory activities that were visitor-driven and required minimal or no facilitation. When activities were not facilitated, people were often too timid to interact.
--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.
When you count attendance to your museum, do you include: people who eat in the cafe? It''s about museum attendance and how the five big, free museums in St. Summertime concerts at the history museum? Outdoor movies at the art museum? If a kid gets dragged to a museum with their parents, do they count?
While I was at the Philadelphia Museum of Art working on a website redesign, we recognized the need to be transparent with our internal audiences and started hosting a series of monthly open forum presentations called “Website Wednesdays.” Just like a good soccer coach does for their team.
In honor of tomorrow’s book club post on Elaine Gurian’s essay, Free at Last, a preliminary post on the ecomonics of high quality interactive experiences. Live facilitation has a varied role in museums. In children’s and science museums, explainers are everywhere. Hiring, training, and scheduling floor staff is expensive.
Museums have used games to engage visitors for decades. SR: I came to games before I came to museums. My grandmother cheated at Candyland and uno. :) Games, I think, have a nice Venn diagram of overlap between museum lovers. I love thinking we're getting new museum lovers through games. How did you get into museum games?
I like to ask myself this question periodically, challenging myself to find substantive ways for visitors to contribute to our museum. And when I think back on the past year, some of the most magical things that have happened at the museum have NOT been designed by us. We don't have to convince them that it's their museum.
While it hasn't happened here in awhile, a new Museum 2.0 They may be parks, cafes, bars, hair salons--any place that is conducive to informal, welcoming, creative interaction. Oldenburg celebrates places that are less structured, less designed, less facilitated, and less content-rich than most museums want to be.
The speakers for this panel include: Tracy Fullerton - Electronics Arts Game Innovation Lab Ruth Cohen - American Museum of natural History Elaine Charnov - The NY Public Library Jason Eppink - Museum of the Moving Image Syed Salahuddin - Babycastles Elaine Cohen: The New York Public Library 100 Years of the flagship library in New York.
Accept donations during the event registration process to facilitate even greater fundraising results. This solution simplifies the auction experience for planners and attendees, reducing stress and facilitating more efficient fundraising. Art & History Museums Maitland planned a virtual three-day online art auction.
This expresses itself most powerfully in museums when we talk about building relationships with visitors over time. But museums are one-night stand amnesiacs in the relationship department. This is terrible, both for the visitor and for the museum. I expect you'll remember some basic things about me--say, my name.
Diane is both visionary and no-nonsense about deconstructing the barriers that many low-income and non-white teenagers and families face when entering a museum. Most large American museums are reflections of white culture. Louis homeless shelters to introduce them to the local museums. Why can't new visitors do the same?
has gone on to build other games and tutorials, but their bread and butter is the crafting of honest, successful "interactive conversation interfaces." What's an "interactive conversation interface"? In short, it's a killer interactive. In short, creating a consistent, positive environment for user interaction.
Yesterday, I turned in my keys and said goodbye to the Spy Museum and to Operation Spy, the narrative, immersive game experience I've been developing/building over the last two years. Instead of guides leading groups, there are actor/facilitators who interact with visitors throughout their experience. It's about economics.
Last week I was honored to be a counselor at Museum Camp , an annual professional development event hosted by the Santa Cruz Museum of Art & History (MAH). Nina Simon, the executive director of the museum, is an expert in participatory design and fantastic facilitator.
Thank you to Susan Spero and all the folks at JFKU and Left Coast Press for starting a highly stimulating conversation this weekend at the colloquium on Museums and Civic Discourse. There were, as we say in the museum business, some good aha moments. What role should museums play in promoting discourse?
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 two, the visitor has some interactive experience (pushing buttons, etc.) This post provides a tangible example for the why behind that argument.
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. We're involving visitor services and volunteers more intentionally in facilitation. Pocket Museums in bathrooms.
We co-authored the “ Emerging Leaders Playbook ,” and I designed and facilitated a peer learning project. When you are a trainer, you are a designer and facilitator of learning experiences. collaboration and interaction opportunities between participants, local experts, and others. Exercise #1: Herding Sheep.
My colleague, Evone Heyning, calls this “ more sticky interactions.&# It will also be interesting to track how Jumo helps organizations and causes attract new supporters and what is required in terms of time commitment and strategy to be successful. Two of the questions were “Which of these places would you most like to visit?
The Discovery Center is a one-hour simulation in which groups of students (grade 5 and up) role play in a realistic, interactive environment. And the intention was for the facilitator to point out either during the experience itself or during the debrief that there are a lot of different choices. The topic is the invasion of Grenada.
Thanks to Kyle Evans, who forwarded me the fascinating, lengthy master’s dissertation.art: Situating Internet Art in the Modern Museum by Karen Verschooren at the MIT Comparative Media Studies program. In it, Karen provides a survey of the evolving relationship of Internet art to art museums. Citizen science programs. On the website?
The Smithsonian National Museum of African American History and Culture (NMAAHC) was planning the next installment of their already-successful and well-attended event, “A Seat at the Table.” For NMAAHC, the idea of “A Seat at the Table” happened conceptually before the museum even opened in 2016. It was March 2020.
This is not an analytical post (primarily); it's an announcement and invitation to join the new project I've been working on with The Tech Museum of Innovation in San Jose, CA. But this is not just for The Tech; our grant mandates that this project be a service to the museum community at large. A contractor, Involve Inc.,
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.
You can explore the project wiki where we coordinated the exhibit, including the project overview , our six-week plan to get it all done, and individual sections for development of concept , content , interaction , graphics , marketing , fabrication , installation , and evaluation. They were roped to very specific locations and activities.
This week marks one month of live activity for the Tech Virtual Museum Workshop , a collaborative, online platform for exhibit development. For me, it means spending a lot more time facilitating idea generation and communicating with others than being an independent creative agent. A month ago, I invited you to join this project.
I've become convinced that successful paths to participation in museums start with self-identification. The easiest way to do that is to acknowledge their uniqueness and validate their ability to connect with the museum on their own terms. Who is the "me" in the museum experience? Not so at museums.
Museum technology nerds: this post is for you. I've been thinking recently about distributed content experiences--ways for people to interact with museum content (art, history, science, etc.) as they make their way through the world outside the museum. At the museum? but none of them are great. Who's tackling them?
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