This site uses cookies to improve your experience. To help us insure we adhere to various privacy regulations, please select your country/region of residence. If you do not select a country, we will assume you are from the United States. Select your Cookie Settings or view our Privacy Policy and Terms of Use.
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Used for the proper function of the website
Used for monitoring website traffic and interactions
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Strictly Necessary: Used for the proper function of the website
Performance/Analytics: Used for monitoring website traffic and interactions
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. We developed and prototyped everything in-house with staff and interns.
This exhibition represents a few big shifts for us: We used a more participatory design process. Our previous big exhibition, All You Need is Love, was highly participatory for visitors but minimally participatory in the development process. Without further ado, here's what we did to make the exhibition participatory.
Which of these descriptions exemplifies participatory museum practice? Museum staff create an exhibit by a traditional internal design process, but the exhibit, once open, invites visitors to contribute their own stories and participation. In the first case, you are making the design process participatory. The exhibit opens.
School programs fall within this landscape, and our goal is not to see them as completely separate from the other work we do with youth—Kid Happy Hour, family festivals, teen program—but on a continuum. Most school tours are for intact groups—a single class or grade.
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? For this reason, I see history museums as best-suited for participatory projects that involve story-sharing and crowdsourced collecting (e.g.
Ready to turn your institution into a site of participatory engagement? Want to bring the spirit of this blog to your colleagues and projects? Have an audacious idea but don't know where to start?
Museums and other venues are offering special programs for teens, for hipsters, for people who want a more active or spiritual or participatory experience. Even internally-driven motivation is influenced by external societal pressures. There's been a lot of innovation in arts programming in the last few years.
At the big one, I worked on a small project with teens to design science exhibits for community centers in their own neighborhoods. In 2004, Anna was the Director of Exhibitions and Programs at the International Spy Museum. It was going to be developed by contractors and overseen by Anna.
Now, onto the links: If you have a great idea for a participatory learning project that uses digital tools, the MacArthur Foundation wants to give you money. I'm currently doing a project in Canada, and in my hunt for international social media statistics, I came upon this amazing Social Media Tracker report.
I worked on one project in which the client institution thought they wanted unfettered teen expression. When they saw the results of that expression, they struggled with the content and eventually integrated it into their project in a way that diminished the teens’ involvement and hard work. Sixth, you need other people to help you.
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. You don’t need an internal social network (though that is an option). Tags: Book Discussion: Groundswell marketing participatory museum.
The recent flurry of restrictions that has sent teens fleeing? If we can create exhibition spaces with a strong enough internal culture/story/rule set, one that reinforces and supports social, friendly, respectful, positive interactions between strangers, people will buy into those rules, even if they are not typical.
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. We talk a lot at our museum about empowering our visitors, collaborators, interns, and staff by making space for them to shine.
Temple Contemporary’s mission is to creatively re-imagine the social function of art through questions of local relevance and international significance. Every other year, they convene TUPAC, a group of 35 outside advisors, including teens, college students, Temple University professors, artists, philanthropists, and community leaders.
We organize all of the trending information in your field so you don't have to. Join 12,000+ users and stay up to date on the latest articles your peers are reading.
You know about us, now we want to get to know you!
Let's personalize your content
Let's get even more personalized
We recognize your account from another site in our network, please click 'Send Email' below to continue with verifying your account and setting a password.
Let's personalize your content