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Earlier this month, I participated in a social media library giveaway organized by Steve Cunningham , who like me, loves books. For the social media library giveaway I asked folks to leave a comment on how they would use the books to shape their 2010 social media strategy. and externally (with all of your fine readers!). .
Dear Museum 2.0 As of May 2, I will be the executive director of the Museum of Art & History at McPherson Center in Santa Cruz, CA (here's the press release ). I am closing down my consulting business at the end of April, but the Museum 2.0 Here are a few things that make the MAH an exciting museum to me: It's small.
As many of you know, I've been working for the past year+ on a book about visitor participation in museums, libraries, science centers, and art galleries. The ParticipatoryMuseum is a practical guide to visitor participation. The ParticipatoryMuseum is an attempt at providing such a resource.
Pop-Up Museum [n]: a short-term institution existing in a temporary space. Over the past few years, there have been several fabulous examples of pop-up museums focusing on visitor-generated content. Maria Mortati runs the wonderful SF Mobile Museum , which roams the Bay Area showing mini-exhibits on evocative themes.
This is the final segment in a four-part series about writing The ParticipatoryMuseum. This posts explains why and how I self-published The ParticipatoryMuseum. COST: Museum books tend to be expensive - because they are printed in small runs, the price for a 400-page paperback can be as high as $40.
This August/September, I am "rerunning" popular Museum 2.0 Originally posted in April of 2011, just before I hung up my consulting hat for my current job at the Santa Cruz Museum of Art & History. I''ve spent much of the past three years on the road giving workshops and talks about audience participation in museums.
I spent last week in the glorious country of Taiwan, hiking, eating, and working with museum professionals and graduate students at a conference hosted at the Taiwan National Museum of Fine Arts. It's not topic-specific; I've done these exercises with art, history, science, and children's museums to useful effect.
Yesterday, I had the delightful opportunity to participate in the 3six5 project , a yearlong participatory project in which 365 people write 365 journal entries for every day of 2010. Participating in this made me wonder: could a museum or library run a project like 3six5? Complexities of project management.
This month we’ve been thinking about “What is a museum?” (I'm I’ve been visiting museums my whole life. Does that make me the best judge of museums? People are the defining characteristics of museums. I’ve worked with and at plenty of museums that can sometimes feel empty. I'm not alone there.
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?
I've spent much of the past three years on the road giving workshops and talks about audience participation in museums. The Museum 2.0 In 2008 and 2009, there were many conference sessions and and documents presenting participatory case studies, most notably Wendy Pollock and Kathy McLean's book Visitor Voices in Museum Exhibitions.
This week marks five years since the book The ParticipatoryMuseum was first released. Across the museum field, the questions about visitor participation have gone from "what?" I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. and "why?"
Submitted by Nina Simon, publisher of Museum 2.0 On Friday, I offered a participatory design workshop for Seattle-area museum professionals ( slides here ). We concluded by sharing the tough questions each of us struggl es with in applying participatory design techniques to museum practice. That's why I asked.
Dear Museum 2.0-ers, ers, Next week, I'll be going to DC for a meeting convened by the National Academy of Sciences and the Institute of Museum and Library Services on "Museums and Libraries in the 21st Century." Over the last 50 years, public-facing museums and libraries in the U.S.
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.
On Friday, I offered a participatory design workshop for Seattle-area museum professionals ( slides here ). We concluded by sharing the tough questions each of us struggles with in applying participatory design techniques to museum practice. The most reliable question I'm using works in art museums.
Take five minutes and learn how the Science Museum in London created better experiences for deaf visitors. Or how Felton Thomas fought the library union to make the Cleveland Public Library matter more. When I wrote my first book, The ParticipatoryMuseum , I released it concurrently as a paperback and free online.
If you care about how participatory art experiences can shape civic processes, read Bedoya's post. Adam and I first met in 2008, when we were part of a National Academies think tank-ish thing on the future of museums and libraries. Adam argued for museums to become "less visitor-oriented," and I argued the opposite.
I want to share a few fabulous evaluation and research studies that have greatly informed my work (and specifically, the development of The ParticipatoryMuseum , which is going to the printer this weekend). The Catalyst for Change social impact study from the Glasgow Open Museum.
For the past five years, each summer, the Santa Cruz Museum of Art & History has hosted MuseumCamp. Develop compelling, powerful participatory offers and promises for your prospective partners. Tour MAH participatory exhibitions and shadow MAH community events. And it's not just for museum people.
Ruth is a curator of pictorial collections for Puke Ariki, a museum/library/visitor center in the small city of New Plymouth, New Zealand. Puke Ariki has about 70 full-time staff members, of whom 10 work for the museum, and the institution is pretty siloed. Where do you start?
A platform for museum staff to serve as facilitators of safe spaces for difficult conversations? Then bow your head and say a silent "tak" (that's "thank you" in Danish) to the creators of the Living Library. What is the Living Library? The Living Library is inspirational.
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.)
Dear Museum 2.0 readers, I'm almost done with the first draft of The ParticipatoryMuseum: A Practical Guide , a book that explores the theory, practice, and design techniques for involving visitors and community members in the creation and sharing of cultural content. Tags: participatorymuseum.
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.
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.
Museums (and libraries) are trusted sources of information. In February 2001, AAM commissioned a study about the trustworthiness of museums and found that "Almost 9 out of 10 Americans (87%) find museums to be one of the most trustworthy or a trustworthy source of information among a wide range of choices.
I'm working on a personal project (slowly) to open a cafe/bar venue that is also a design incubator for participatory exhibits. My goals are two-fold: to develop a dynamic, creative, social platform for my community and to distribute its successful elements to other civic learning institutions (museums, libraries, community centers).
When we say we want our museum to be "audience-centered," what do we mean? My career first got moving at a brilliant example of the customer-centered museum: the International Spy Museum. Many of my favorite museums, libraries, and zoos are customer-centered places. They care about visitor comfort.
Offering free workshops open to the public on participatorymuseum practice in Wellington (Nov 26), Christchurch (Nov 27), and Auckland (Dec 14). Leading internal workshops with Te Papa (Nov 25), the Powerhouse Museum (Dec 8-9) the State Library of Queensland (Dec 10-11), and the Auckland War Memorial Museum (Dec 15).
I got into museum work because learning happens in many places and many ways. When we talk about embracing participatory experiences at non-professional levels, arts professionals often get worried that the best work will get drowned out in mediocrity. If kids were checking out art supplies from the library.
Like the Living Library project , the advice booth was a platform that connected strangers with strangers--not just staff with strangers. They reminded me of street vendors or great science museum cart educators, imparting an energy to the space without overwhelming it. This is a good lesson for museum talk-back design.
I just returned from the American Association of Museums (AAM) annual meeting in Philadelphia. I led two sessions, one on visitor co-created museum experiences, and the other on design inspirations from outside museums. what is the value of the exhibition experience to non-participants, that is, regular museum visitors?
How would you design a recommendation system for a museum? When it comes to museums, recommendation systems are a natural solution for the problem of the customized tour. When it comes to museums, recommendation systems are a natural solution for the problem of the customized tour.
into the museum is the potential to encourage more positive in-museum interactions among strangers. I want in-person museum experiences to be more like experiences on social sites like Flickr, where strangers connect and form relationships around content. A lot of what interests me about bringing 2.0
Unsurprisingly, some of my favorite museums are small, funky places run by iconoclasts—but that’s not useful to most professionals who work for organizations in which they have little control over size or leadership matters. Many museums are making this shift as they hire “community managers” who communicate with users on an ongoing basis.
Today, the Luce Center at the Smithsonian American Art Museum (SAAM) is launching what they claim is the first ever alternate reality game (ARG) in a museum. Why would an art museum create an ARG? And the "stuff" of the game is real stuff, artifacts created by players and sent to the museum. To expand their audiences.
Today, Museum 2.0 I started the Museum 2.0 blog in 2006 as a personal learning exercise about "the ways that museums do and can evolve from 1.0 I started the Museum 2.0 blog in 2006 as a personal learning exercise about "the ways that museums do and can evolve from 1.0 and watched the Museum 2.0
It's packed with practical theories, rags-to-relevance case studies, and inspiring stories from museums and libraries, theaters and parks, dance companies and orchestras, afterschool programs and activists, churches and synagogues. My last book, The ParticipatoryMuseum , did well. and then do a little bit more.
But I couldn''t fully imagine how a museum or an arts center could embody it. Pop up libraries, performance spaces, and seating areas. creative placemaking design participatorymuseum public space social bridging' Deborah''s vision for the arts leading the way to stronger future inspired me. A soundtrack for the street.
One of the best projects that illustrates the basic idea of Web2.0 - listening and conversation and stakeholders creating their own experience with your organization - comes from the Brooklyn Museum of Art. o is Transparency - and the best example of that is what the Indianapolis Art Museum has done with its pubic metrics on its web site.
It's my "artistic rendering" of one of the most inspirational participatory projects I know of--the Bibliotheek Haarlem Oost book drops. Haarlem Oost is a branch library in the Netherlands that wanted to encourage visitors to add tags (descriptive keywords) to the books they read. A Dutch friend volunteered to go snap the library.
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!
Image via State Library of Queensland (an institution I love). Dear friends, This is my last post as the author of Museum 2.0. I'm thrilled that Seema Rao is taking this blog and museum community into its next chapter. You can find all my archived Museum 2.0 You can find all my archived Museum 2.0 has meant to me.
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