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For example, museums could provide different audio guides to visitors without headphones, and libraries could allow students to study with audio lessons without disturbing others. In a car, passengers could listen to music without distracting the driver as they listen to navigation instructions.
Microsoft Advertising Certification & Badge Programs 3) Bing Places If your nonprofit is location-based, such as a zoo or museum, odds are that your Bing Places page has not yet been claimed. To begin, do a search for your nonprofit on bing.com and follow the instructions to “Claim now” your Places page.
Companies using the technology have found that it cuts downtime, boosts worker productivity, and significantly reduces the time needed to produce usable instructions. The new software also includes an AI copilot that answers further questions users may have based on uploaded manuals and other relevant documents.
Two recent events have got me thinking about pranks and unauthorized activities in museums. Improv Everywhere staged an event at the Metropolitan Museum in which an actor posing as King Philip IV of Spain signed autographs in front of his portrait, as painted by Diego Velazquez in the 1620s. I feel like it's more complicated than that.
I’ve been exploring how to integrate social media into instruction at face-to-face workshops and as well as webinars. The concept of before, during, and after is an important way to plot out your instruction, getting a good understanding of the audience, and modeling. I struck out.
Have you ever been to a restaurant, museum or shopping mall and needed to use the bathroom? It's meant to provide context, give instruction, or address what you might be thinking as you navigate a digital screen. You begin by looking up and around for any sort of signage. You halt the conversation and break away from your loved ones.
Once you receive the invitation to join Pinterest, simply follow the instructions to create an account. Only add your location if you are a location-based nonprofit, such as a museum, zoo, performing arts venue, etc.: Request an invite and let the anticipation begin! Sign up for a Pinterest Account and set up your Pinterest Profile.
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. Our colleagues in the Museum of Natural History were eager collaborators. It is great to feel more of a part of the museum!" "All
He is Deputy Director for the Contemporary Jewish Museum , and an expert in using social media in a museum setting. We were lucky enough to have a fabulous space for the workshop in the Contemporary Jewish Museum. Here are some reflections on the instructional design: 1. I said yes. Photo by James Leventhal.
I hope to share some simple and fun ways to create "shoulder-to-shoulder" instructional media for the panel on Screencasting at NTC I'm doing. How do you create good instructional media in a reasonable amount of time and do a good enough job that helps people learn something by viewing it? and follow the instructions.
Good instructional design to create an environment for peer dialogue begins with good on boarding and for people to connect with something they already know or believe. So, one of the things I highly value about instructional design is the time and space to reflect on what worked and what didn’t work.
Earlier in 2013, I was amazed to visit one of the new “Studio” spaces at the Denver Art Museum. The Denver Art Museum is no stranger to community collaborations, but we’ve been dipping in our toe a little more deeply when it comes to developing permanent participatory installations. Does it matter?
Musical Instrument Museum. This pairing speaks directly to my passion for the arts – my day job is as manager for individual giving at the Musical Instrument Museum , and I serve on several music-related boards, as well as perform as a flutist and singer. Maureen Baker , Manager for Individual Giving.
When I signed up to participate in the Girl Effect Blogging Campaign, I wasn't sure how I would contribute, but when I connected with Carinne Brody at an International Museum of Women event a couple weeks ago, I knew she would be a wonderful person to talk with us about the connection between girls' education and global health.
The curriculum integrates the use of technology, for all aspects of instruction and managing the school. It was designed for learning – almost like an exhibits at any children’s museum in the US. There are computers and large monitors in each classroom, Internet access, and of course, the software development.
But I’d been scribbling notes for an art museum label post for awhile, and then yesterday, the NY Times had a review of a new show at MOMA, Comic Abstraction. MOMA has standard art museum labels. When I asked an art museum educator about this (“How should I look at art?”) The review was harsh. Is this enough? I’m begging here.
How do you find your way around a multi-faceted museum? I spent some time playing with this question last week at the Milwaukee Art Museum, a large general museum that is moving toward redesign of the permanent galleries. The instruction becomes a kind of social object that gives people something to talk about.
Last week, at the annual meeting of the American Association of Museums in Houston, I was honored to chair a fabulous panel on empowering museum staff to take creative risks ( slides here ). Beck beautifully described her entry into museum work. What kind of support do you need to be confident about taking a risk in your work?
You can seamlessly pull up translations for any street sign or instructions for any task. Some locations are replete with helpful holographic instructions, while in other places, neglect and poor connectivity make them few and far between.
This is the third in a four-part series about writing The Participatory Museum. This post covers my personal process of encouraging--and harnessing--participation in the creation of The Participatory Museum. I asked a few people I trust who are not museum folks to read the third draft. Check out the other parts here.
When I was working in-house at the Philadelphia Museum of Art, we leaned on an external accessibility partner to help us train our internal teams on best practices. Use clear labels and fieldsets, provide instructions and error messages in a way that is accessible to all users, including those using screen readers or assistive technologies.
Submitted by Nina Simon, publisher of Museum 2.0. I’ve had it with museums’ obsession with open-ended self-expression. And yet many museums are fixated on creators. Museums see open-ended self-expression as the be-all of participatory experiences. You are handed a pre-mixed color and a brush and a set of instructions.
When we talk about making museums or performing arts organizations more participatory and dynamic, those changes are often seen as threatening to the traditional arts experience. Museums no longer showed human horns alongside historic documents; theaters made differentiations among types of live entertainment. I can't wait.
I’ve had it with museums’ obsession with open-ended self-expression. And yet many museums are fixated on creators. Museums see open-ended self-expression as the be-all of participatory experiences. First, exhibits that invite self-expression appeal to a tiny percentage of museum audiences.
As one participant said, "the museum feels friendly in a way it usually doesn't." People make the museum friendly, not activities. For example, visitors were invited to add their own secrets to hampers in front of selected artworks and were instructed to write secrets or memories that those specific artworks evoked.
We've been offering a host of participatory and interactive experiences at the Museum of Art & History this season. SETUP Cut your instructions down to as little text as possible. Accolades are more inspiring than instructions. The same is true for paper instructions mounted on the table. They will be impressed.
Museums have been grappling with this question for years ( here's a 2007 roundup of such projects ), most aggressively in zoos and natural history museums where staff hope to inspire conservation and in history/concept museums that focus on civic engagement and activism. No small task for a museum exhibition.
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 museums hosting 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? meetup for Elite Yelp!
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. The ask is clear.
A man walks into a museum. Two years ago, we mounted one of our most successful participatory exhibits ever at the Santa Cruz Museum of Art & History: Memory Jars. There were no written instructions, just a mural that suggested what to do and labels that prompted people for their name and memory. He shares a story.
What role does “promoting human happiness” play in the mission statements and actions of museums? That’s the question I’m pondering thanks to Jane McGonigal and the Center for the Future of Museums (CFM). Earlier today, the CFM offered a free webcast of Jane McGonigal’s talk on gaming, happiness, and museums.
You can create a tailored registration page for your volunteers including easy to follow instructions. Check out how these organizations are using VolunteerHub to streamline volunteer registration: Holocaust Museum Houston. Click on the link and they are immediately directed to the registration page. Donner Sang Compter Lebanon.
Today I got an early present from the San Francisco NPR station, KQED, which aired a piece on Museum 2.0 featuring me (as well as the fabulous Lori Fogarty of the Oakland Museum of California). This concept has spawned a question I like to obsess over: What would a museum look like that got better the more people used it?
" What has been going on here is experimentation to understand the possibilities and potential of virtual worlds as an educational , instructional , therapeutic , marketing , and/or collaboration medium. A Museum group is also forming to discuss and explore what museum's can do in SL. So back to last night's events.
The MP3 experiment is an exercise in following instructions. He explains that you will have to follow his instructions to have “the most pleasant afternoon together.” But it’s all founded on these first few minutes, which create an environment of safe progression, clear instruction, and emotional validation.
This week, the Denver Art Museum (DAM) opened a new temporary exhibition called The Psychedelic Experience , featuring rock posters from San Francisco in the heyday of Bill Graham and electric kool-aid. It is an incredible museum experience. All of the instructions are handwritten on paper or cardboard.
On Monday, I gave the keynote at the Museums in Conversation conference in Tarrytown, NY. I learned to cultivate creative greed while working on Operation Spy at the International Spy Museum, where I was lucky to be working on a project that was so new to us that we didn't have any pre-established models or structures for doing it.
What if witty cultural commentators reviewed museums the way they do music and restaurants? If Anthony Lane turned his cutting tongue from movies to museums? If Stephen Colbert "reported" on museums at times other than during the TV writer's strike? And instructive. It's painful. And revelatory. And painful.
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.,
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 made a giant mobile for the center of the museum out of origami birds folded from visitor comments received in the past year.
There are many artistic projects that offer a template for participation, whether a printed play, an orchestral score, or a visual artwork that involves an instructional set (from community murals to Sol LeWitt). Song Reader looks back and encourages reengaging in a tradition that fosters participation. That''s expected.
This is the seventh 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. My museum was being sued over the Abbott Square project. The lawsuit was instructive because it had rules, like a game. We were zooming again.
The official selections will be announced by the end of July and the festival will take place at the Spirit of Texas Theater at the Bob Bullock Texas State History Museum in Austin, Texas on September 12-14. They are accepting films through June 30, though it's only free to submit through June 15th. Submit now!
So, this trip was a gift in terms of getting new ideas for instructional design. As a participant, you can also learn a lot by observing and reverse engineering the instructional design. When you are a trainer, you are a designer and facilitator of learning experiences. Exercise #1: Herding Sheep.
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