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I had too look no further than Shelley Bernstein's blog over at the Brooklyn Museum to find some thoughtful experimentation and useful examples. Back in December, the Brooklyn Museum started to experiment with FourSquare running a promotion to get people to check in and get a free membership. Tags: location.
Last week, I visited the Wing Luke Asian Museum in Seattle. I've long admired this museum for its all-encompassing commitment to community co-creation , and the visit was a kind of pilgrimage to their new site (opened in 2008). I'm always a bit nervous when I visit a museum I love from afar. What if it isn't what I expected?
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.
Submitted by Nina Simon, publisher of Museum 2.0. I’ve had it with museums’ obsession with open-ended self-expression. When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. And yet many museums are fixated on creators. This is a problem for two reasons.
I just got home from the Museums and the Web conference in Indianapolis. I’d never attended before and was impressed by many very smart, international people doing radical projects to make museum collections and experiences accessible and participatory online. Instead, I found a standard art museum. Impersonal guards.
There were a number of online/offline participatory visitor experiences. At the Natural History Museum, we visited the David H. At the Museum of American History, we visited the First Ladies Exhibit. Tags: Engagement smithsonian. We spent most of the day at the Smithsonian. Next stop, the Jersey Shore!
I’ve had it with museums’ obsession with open-ended self-expression. When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. And yet many museums are fixated on creators. Museums see open-ended self-expression as the be-all of participatory experiences.
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. Want to buy a book
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 is the second in a four-part series about writing The ParticipatoryMuseum. Several hundred people contributed their opinions, stories, suggestions, and edits to The ParticipatoryMuseum as it was written. Other contributors were collegial and a valuable network of museum wonks has developed."
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. Where do museums fit in? Here is our statement.
This is the third in a four-part series about writing The ParticipatoryMuseum. This post covers my personal process of encouraging--and harnessing--participation in the creation of The ParticipatoryMuseum. As the participatory content review progressed well, I started looking for other ways for people to help.
I'm here in Chicago for a very brief trip on a panel about metrics and measurement for museums called "New Spaces, New Measures." Types of tags assigned to it, the terms used, the authority of the taggers, the authority of the tagging system. " My slides and resources are here. Via RSA Networks blog.
This question is a byproduct of the reality that most participatory projects have poorly articulated value. When a participatory activity is designed without a goal in mind, you end up with a bunch of undervalued stuff and nowhere to put it. Are you making that shift in your thinking about participatory project design?
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.
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? Aren't art museums less open to participation than other kinds of museums?" I was surprised by her question.
Which of these descriptions exemplifies participatorymuseum practice? Museum invites community members to participate in the development and creation of an exhibit. But the difference between the two examples teases out a problem in differentiating "participatory design" from "design for participation."
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. Tags: Books pinko marketing relationships. It takes content, strategy and elbow grease.
Photo from my flickr stream View the Tagging Screencast Presented by NTEN. I'm pleased to announce that my screencast about tagging has been released and showcased by NTEN ! I created it for the screencast to illustrate the definition of tagging. If you have questions about tagging or want to share your organization???s
In the most extreme cases, I've talked to folks from museums that are government-mandated to provide all content in multiple languages who say they are unable to invite visitors to make comments because they'd have to translate all of them and simply can't dedicate the resources to do so. Tags: design usercontent inclusion.
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 participatorymuseum experiences focused on design strategies, case studies, and activities. The WHY of participatory design is really important. And there’s a third reason.
On October 20, a young woman named Kate will move into Chicago's Museum of Science and Industry and live there for a month. This post is not about the Month at the Museum concept or implementation. Instead, this post focuses on a fascinating aspect of Month at the Museum: the video applications. That will come later.
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. They’re tagging with yarn.
Jasper Visser and his colleagues at the not-yet-physically-open National Historisch Museum of the Netherlands have impressed me with their innovative, thoughtful approach to developing a dynamic national museum. Last weekend my museum presented itself at the Uitmarkt in Amsterdam. Tags: Museums Engaging in 2.0
This post was written by Jaime Kopke , the founder/director of the Denver Community Museum , a pop-up community-generated institution that ran from Oct 2008-April 2009. The Denver Community Museum (DCM) was a grassroots operation in almost every sense. This post shares her reflections on the project, its design, and its impact.
Over the past year, I've noticed a strange trend in the calls I receive about upcoming participatorymuseum projects: the majority of them are being planned for teen audiences. Why are teens over-represented in participatory projects? Teens are a known (and somewhat controllable) entity.
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.
Last week, I gave a talk about participatorymuseum practice for a group of university students at UCSC. During the ensuing discussion, one woman asked, "Which audiences are least interested in social participation in museums?" So what's a museum to do--especially one that is funded to encourage youth and teen participation?
There are many participatory kiosks that are functional black holes--visitors make videos or draw pictures or write stories, drop them in a slot, and. There are many participatory kiosks that are functional black holes--visitors make videos or draw pictures or write stories, drop them in a slot, and. nothing happens. nothing happens.
What does the word "participatory" mean to you? The various definitions of participatory projects can lead to confusion and misunderstandings. Participation in science research is a good basis on which to develop a framework for participatory models because it is based on a consistent scientific process with many steps.
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.
I have a lot of conversations with people that go like this: Other person: "So, you think that museums should let visitors control the museum experience?" Other person: "But doesn't that erode museums' authority?" If the museum isn't in control, how can it thrive? Me: "Sort of." and my emphatic response is YES.
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. Tags: evaluation Quick Hits.
I was fascinated by our discussion, and Bob came to mind last month, when I was asked to write an article for the Association of Children's Museums quarterly journal, Hand to Hand , about children's museums and Web 2.0. To understand more, I turned to Elaine Gurian's article The Molting of Children's Museums? Why the uniformity?
Now, after attending with museum friends from around the country, I'm hooked. Unlike most museum experiences, where people quietly absorb the work in a room, people were very comfortable pulling each other to specific pieces and extolling their merits or less inspiring qualities. Very few wrote in typical museum or even gallery-speak.
It's rare that a participatorymuseum project is more than a one-shot affair. But next month, Britain Loves Wikipedia will commence--the third instance of a strange and fascinating collaborative project between museums and the Wikipedia community (Wikimedians). Some of these challenges were about mission fit.
People often ask me which museums are my favorite. It's not the extent to which they are participatory. I visit lots of perfectly nice, perfectly forgettable museums. In some cases, that's based on subject matter, as at the Museum of Jurassic Technology or the American Visionary Art Museum.
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. Tags: design participatorymuseum usercontent. Do you interrogate the map?
The Art of Participation provides a retrospective on participatory art as well as presenting opportunities for visitors to engage in contemporary (“now”) works. As the museum's website puts it, "this exhibition examines how artists have engaged members of the public as essential collaborators in the art-making process."
There's a tag applied to many Museum 2.0 Posts under that tag tend to examine non-museum things, from malls to games to ad campaigns , and draw some design lessons for museums from their foreignness. What aspects of that socialness are desirable in museums (and how might we mirror buses or trains to promote them)?
Seb Chan has a lovely, long interview up at Fresh+New with Helen Whitty about the Powerhouse Museum's new mini-exhibition, the Odditoreum. The Odditoreum is another wrinkle in the study of visitors' understanding and interpretation of authenticity in museums. I enjoyed listening to it (virtually, not at the museum).
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.
As part of the article I’m working on for the journal Museums and Social Issues on using web 2.0 to promote civic discourse in museums, I’m developing an argument about the “hierarchy of social participation.” Voting, whether for American Idol, national elections, or museum kiosk surveys, falls in this category. Watch a video.
Here's how the Flickr experience maps to me-to-we design: For a museum example, consider the Walters Art Museum's Heroes exhibition. Visitors were invited to wear tags indicating their personal connection to one of eight characters in Greek mythology and to use those tags to navigate the exhibition (see longer explanation here ).
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