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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.
--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.
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.
But not enough people care about it anymore, and the museum is fading into disrepair. The Silk Mill is part of the Derby Museums , a public institution of art, history, and natural history. Many people would look at the world''s oldest mechanized silk mill and say that the core content of the museum is silk. What do you do?
Gretchen Jennings convened a group of bloggers and colleagues online to develop a statement about museums'' responsibilities and opportunities in response to the events in Ferguson, Cleveland and Staten Island. Museums are a part of this educational and cultural network. University law schools are hosting seminars on Ferguson.
At the Santa Cruz Museum of Art & History, we take our interns seriously, give them real responsibility, creative challenges, and meaningful work opportunities. I'm particularly excited about two internships that relate to participatory exhibition design. First, there is the Participatory Exhibit Design Internship.
I read a post about user-generated content from the fresh+new blog which is focused on new media in museums. Consumer-generated media (CGM) multi-media (CGM2): First-person commentary posted or shared across a host of expression venues. It describes various sub-groups of consumer co-created content. Paid media: Old advertising model
One of the greatest gifts of my babymoon is the opportunity to share the Museum 2.0 First up is Beck Tench, a "simplifier, illustrator, story teller, and technologist" working at the Museum of Life & Science in Durham, NC. As a person who works for a science museum, I work in an environment that supports play.
Courageous speakers from dozens of countries described bold, participatory projects. El Museo Reimaginado is a collaborative effort of museum professionals in North and South America to explore museums' potential as community catalysts. I find North American museums to be risk-averse. Pioneers of communitario museums.
For years, I'd give talks about community participation in museums and cultural institutions, and I'd always get the inevitable question: "but what value does this really have when it comes to dollars and cents?" We're hearing on a daily basis that the museum has a new role in peoples' lives and in the identity of the county.
What happens when a formal art museum invites a group of collaborative, participatory artists to be in residence for a year? Will the artists ruin the museum with their plant vacations and coatroom concerts? But for museum and art wonks, it could be. Will the bureaucracy of the institution drown the artists in red tape?
On a recent trip to the Children's Museum of Pittsburgh, I noted a discussion board in the "Nursery" gallery. For the Nursery discussion board, it's other adult visitors to the Children's Museum. Every adults who takes a child to a Children's Museum cares about his or her identity as a caregiver. What's the next step?
He writes a blog called " Read It To Me " that summarizes business books and also hosts Webinars with authors. 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 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. I love playing host to friends, but I clam up in big crowds, never go to happy hour, and don''t know how to flirt. blog posts from the past. So I stopped trying.
I've long believed that museums have a special opportunity to support the community spirit of Web 2.0 This month brings three examples of museumshosting meetups for online communities: On 8.6.08, the Computer History Museum (Silicon Valley, CA) hosted a Yelp! Me: Have you ever been to this museum?
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.
Kudos to NTEN for breaking the template on the typical type of events it has hosted. The Leading Change Summit was more intimate (several hundred people), participatory and interactive, intense, and stimulating. Often, facilitation teams are brought together by an event host.
I've written before about the difference between participatory processes and products , but this question of frameworks and sensibility is more broadly applicable to community engagement strategies. Machine Project, on the other hand, recently hosted a dumpling party and offered parent-child workshops in hot-wiring cars.
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.
How do you help visitors know what they can and cannot do in your museum? Most museums have this figured out: they have signs, they have guards, they have cases over the objects. And this works pretty well in science museums, where designers talk about "hardening" exhibits to withstand the more aggressive touchers among us.
We've been offering a host of participatory and interactive experiences at the Museum of Art & History this season. I loved Jasper Visser's list of 30 "do's" for designing participatory projects earlier this month. This isn't even participatory. We had over 400 successful bangers with no injuries.
Last week, I was in Minneapolis for the American Association of Museums annual meeting. Kathleen McLean led a terrific session called "Dangerous Ridiculous" about risk-taking in museums. Interestingly, at my museum, our team is naturally better at ridiculous than we are at dangerous. I host dating games.
Works are chosen and hung throughout the city using a unique venue matching system whereby local businesses, galleries, and organizations select the artworks they want to host. Now, after attending with museum friends from around the country, I'm hooked. Very few wrote in typical museum or even gallery-speak. The prizes?
Three of them are being hosted at my museum , and one at a mystery location. You Can't Do That in Museums Camp - July 10-12, 2013. In July of 2013, the MAH will host our first You Can't Do That in Museums Camp (or better name to be suggested by you), inviting 80 creative people to collaborate on an experimental exhibition.
For the past five years, each summer, the Santa Cruz Museum of Art & History has hosted MuseumCamp. This year, to address these issues, we're experimenting with hosting two camps instead of one: COMMUNITY PARTICIPATION BOOTCAMP , June 7-8, 2018. Tour MAH participatory exhibitions and shadow MAH community events.
The museum was in huge financial trouble. My expertise was on inviting strangers to participate in public settings like museums. The book explains how to host events with purpose, drawing lessons from intimate parties, mass happenings, and international summits. When you host an event, you have the power to define what happens.
You can join the conversation in the blog comments, or on the Museum 2.0 Like many museum and library professionals, I am enamored of the idea of cultural institutions as “third places” – public venues for informal, peaceable, social engagement outside of home or work. This is the only post written by me, Nina Simon.
I've been thinking recently about how I originally got interested in talking to strangers in museums. I love playing host to friends, but I clam up in big crowds, never go to happy hour, and don't know how to flirt. Working in museums as floor staff cracked open the social stranger door for me. It was blue. It was polyester.
Every time a colleague tells me her museum has just hired a "community person," a part of me cringes. While subsequent museum staff have kept the project going, the community had connected with me as the focal point, and there has not been a new person who has been able to comparably rally the community to high levels of activity.
Me with a friend As I keep saying, I’ve been to a few museums of late. In reflecting on the sample, I’ve made some broad reflections on museum workers and visitors. Today, I wanted to think about participatory elements, something so essential to this blog. People go to museums for leisure.)
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.
I've been thinking recently about the "why" behind encouraging social interactions among strangers in museums. After all, people visit museums in their own pods for a reason. There are two ways I think we can be using this in museums. First, I think we should support the proliferation of museum-based "I saw you's."
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. We hang out.
Huge thanks to everyone who participated in the idea-sharing over the last couple months about how to make Museum 2.0 These posts will be an opportunity to hear from more people who are experimenting, leading, and banging their heads against the challenges of incorporating participation into museums and other public cultural places.
I got my copy of the fall issue of Museums and Social Issues this week. The theme is "Civic Dialogue," and the journal includes articles on the historical, cultural, media, and museum practice of getting people talking to each other (including one by me about such endeavors on the web). A place many museums are not.
It started as a handout for a session that Stacey and I are doing at the California Association of Museums, and then I realized it was so darn useful that it was worth sharing with all of you. The majority of our public programs at the Santa Cruz Museum of Art & History are created and produced through community collaborations.
There are some parties where hosts go out of their way to welcome guests individually and to introduce them to others via shared interests - making sure Susie the winemaker meets George the restauranteur and so on. Not every cultural experience requires a party host (though they are always useful). Ideas participatorymuseum.
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.
Hosting a session on Monday at 2pm on Design for Participation with participatory design gurus Kathleen McLean and Dan Spock, along with research extraordinaire Kris Morrissey and participatory art rockstar Mark Allen. The king of idiosyncratic museums. Signing books on Monday from 4-5 in the AAM bookstore.
Hosted by a sound art collective, Ultra-red, the 2015 event promised "to investigate listening as a political activity and to interrogate the stakes of participation in neoliberalism." I've met too many young, talented people of color who want to work in museums but feel belittled, tokenized, or unsupported in their careers.
For example, when we held community meetings about the development of a new creative town square next to our museum, a group of middle/upper-class moms talked about not feeling safe downtown. It doesn't matter what incentives you offer to participate or how attractive the invitation is if the recipient doesn't know or trust you as a host.
This year, the American Association of Museums annual conference was in Los Angeles (my hometown). I hosted two sessions, one on design for participation and the other on mission-driven museum technology development. He started with museums as a "place to go"--to see things, consume experiences.
I got thinking about this the other day with regard to museums. More and more museums are putting resources into floor staff who are trained to connect visitors with content, to serve as interpreters and informal teachers. If they rely minimally on staff, they can be scalable to all visitors in the museum at a time.
First, I want to extend a huge THANK YOU to everyone who has contributed to the nascent Museum 2.0 We're still looking for your Museum 2.0-related We're still looking for your Museum 2.0-related I'll be playing in CA and hosting a game event at ASTC in Philadelphia mid-Oct. Living Archive.
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