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Philanthropy and HBCUs: Foundation funding to historically Black colleges and universities , by ABFE and Candid For every $100 foundations gave to the average Ivy League, they gave 56 cents to the average historically Black college and university (HBCU). This report looks to fill that gap by examining U.S. communities face.
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.
She did several things over the course of the tour to make it participatory, and she did so in a natural, delightful way. Note that there was a research study at Hebrew University published in Curator last year about improving a nature center's tour engagement and content retention through exactly this technique.)
As many of you know, I’m writing a book about participatory design for museums. The book is intended to be a practical guide to participatory museum experiences focused on design strategies, case studies, and activities. The WHY of participatory design is really important. And there’s a third reason.
Inspired by Stacy, I wanted to share some of the work we are doing at the Santa Cruz Museum of Art & History to clarify what we mean by engagement. In early 2014, we developed a set of five engagement goals: Relevant, Sustainable, Bridging, Participatory, Igniting. IGNITING : Inspires excitement and curiosity about art and history.
I get excited about a lot of things in my work at the Santa Cruz Museum of Art & History. Ze Frank is a participatory artist who creates digital projects that are explicitly about creating and enhancing authentic interpersonal connections. The scale and scope of participation in A Show is extraordinary.
I've now been the Director of The Museum of Art & History in Santa Cruz for two months. But the point is that the MAH, like just about every other museum in the known universe, was content to define the museum experience as something removed from the outside world, a rarefied church-like space of refined artistic reflection.
Today is my one-year anniversary as the executive director of the Santa Cruz Museum of Art & History. We went through a dramatic financial turnaround and redefined our relationship with our community through a series of experimental participatory projects and new programmatic approaches. 85% of our visitors attend through events.
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. Over the past four years, I''ve been running a small regional art and history museum in Santa Cruz, CA.
As a platform for such local activity, more participatory forms of engagement are already envisaged—an area “culture pass” for museums and arts institutions is one exciting example—to further stimulate local activity. Given this history, it is unsurprising that interest in alternative currency was rekindled in the wake of the Great Recession.
They also reflect the long arc of what we know is a history with a lot of inequality baked into and embedded within those thoughts, those actions. If you were the president of the womens chess club at your university, that should count extra for you, right? Humans will never be perfect. We will never have perfectly just societies.
University law schools are hosting seminars on Ferguson. Yet our posts contain similar phrases such as “21st century museums,” “changing museum paradigms,” “inclusiveness,” “co-curation,” “participatory” and “the museum as forum.” Museums are a part of this educational and cultural network. What should be our role(s)?
I'm reaching the end of my consulting days, with just one more day on the road before I dedicate myself to Santa Cruz and The Museum of Art & History. If you've never heard my "stump" speech about The Participatory Museum , this is probably your last chance! I wanted to let you know about a bonus opportunity that has popped up.
Embarking on Your AAPI Heritage Month Journey Asian American and Pacific Islander Heritage Month, celebrated every May in the United States, provides an important opportunity to honor the history, culture, and achievements of Asian Americans and Pacific Islanders. Be sure to recruit knowledgeable facilitators.
Barry is asking the universe to send him names of "unheralded arts sector leaders" to be considered for an all-star dinner party in 2013. We're working with participatory online artist Ze Frank on an exhibition at the MAH this winter that features the missions, creations, and explorations of his current web series, A Show.
In a straightforward way, Marilyn explains how her team developed a participatory project to improve engagement in a gallery with an awkward entry. Our colleagues in the Museum of Natural History were eager collaborators. This is a perfect example of a museum using participation as a design solution. She did it anyway.)
I didn't grow up staring open-mouthed at natural history dioramas or wandering through art galleries. There are many parallels between free-choice learning and participatory design. Even the training of museum professionals has gotten more academic with the explosion of university-based graduate programs. I go on hikes.
The Digital Media and Learning Conference is meant to be an inclusive, international and annual gathering of scholars and practitioners in the field, focused on fostering interdisciplinary and participatory dialogue and linking theory, empirical study, policy, and practice. It is our turn to make history. General / #NI16 / @netimpact.
Kathleen McLean (Independent Exhibitions), Dan Spock (Minnesota History Center), and Kris Morrissey (University of Washington) all shared thought-provoking and useful insights on visitor participation in museums, but Mark Allen and Emily Lacy brought down the house with their bluegrass rendering of the Machine Project and its engaging, quirky work.
I love alternative history novels. 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 Nina Simon ’s Participatory Museum , I felt sad about all the visitors whose voices (and post-it note comments) weren’t honored.
So this is a video game that is a PC simulated universe game that a guy called Chris Robinson announced about five years ago. And fast forward to the story now, this is the largest crowd funding campaign in the history of the world. People are buying ships in this imaginary universe. Here’s my crowdfunding campaign.
I cut out from the meeting by myself to check out an exhibition called Open House, if These Walls Could Talk at the Minnesota History Center. My hope is that we can find a way to get it into the science and humanities classrooms in colleges and universities, and I am working on that. Not that it was sad, but that it was human.
I still get fidgety listening to the podcast, but now I see it as an artifact of a supremely conducted participatory project rather the sole product of the process. And they made me appreciate them as superb facilitators as a particular kind of participatory experience: conversation with strangers. They really cared about me.
They provide narratives to the public about how the community or nation sees itself as well as whose histories and perspectives it considers important or worthy of public attention. Kannarr is a PhD candidate in geography at the University of Tennessee. Even outside of schools, place names operate as a hidden curriculum.
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