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
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?
--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.
This morning, I checked in on the Pocket Museums on our museum's ground floor. This simple participatory project invites visitors to contribute their own small objects in little alcoves in our bathrooms. The Pocket Museum activity could be more appropriate for women, many of whom carry bags or purses.
Beck''s project is unusual because he deliberately resurrected a mostly-defunct participatory platform: sheet music for popular songs. In his thoughtful preface to this project, I reconnected with five lessons I''ve learned from participatory projects in museums and cultural sites. Constrain the input, free the output.
We’ve been doing a little experiment at our museum with labels. The Santa Cruz Surfing Museum recently loaned us some fabulous surfboards that tell the co-mingled history of surfing and redwood trees in Santa Cruz. We decided to approach the label-writing for these boards in a participatory way.
Today is my one-year anniversary as the executive director of the Santa Cruz Museum of Art & History. A year ago, I put my consultant hat on the shelf and decided to jump into museum management (a sentence I NEVER would have imagined writing five years ago). I'm open to any questions you want to raise in the comments.
In 2009 , students built a participatory exhibit from scratch. Thirteen students produced three projects that layered participatory activities onto an exhibition of artwork from the permanent collection of the Henry Art Gallery. As one participant said, "the museum feels friendly in a way it usually doesn't."
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.
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. And second, what techniques can help us find more?
And, there was a protest against Target using that technique (holding signs) although it was not on flickr: [link]. What creative twist could your organization do with this technique and support your cause/work? I read a post about user-generated content from the fresh+new blog which is focused on new media in museums.
Last month, the Irvine Foundation put out a new report, Getting In On the Act , about participatory arts practice and new frameworks for audience engagement. I've often been asked about examples of participatory practice in theater, dance, and classical music, and this report is a great starting point.
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.
Recently, we''ve been talking at our museum about techniques for capturing compelling audio/video content with visitors. It made me dig up this 2011 interview with Tina Olsen (then at the Portland Art Museum) about their extraordinary Object Stories project. We ended up with a gallery in the museum instead.
During a workshop on museum visitor participation, someone spoke up and objected: "this might work in California, but it will never work in Texas." I saw how participatorytechniques were working in diverse museums around the world. What plays well at one museum may fall flat a few miles away. To pose with them.
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.
I love the checklists, her thoughts about the impact of social media and behavior change, and the DIY market research techniques. 9 The ParticipatoryMuseum by Nina Simon. Her book is fantastic workbook that will lead you through six fail-proof steps to social marketing success. The book is available on Amazon.
Recently, I was giving a presentation about participatorytechniques 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?" In Your Face ).
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.
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.
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?"
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. The first of these reasons is practical.
The Leading Change Summit was more intimate (several hundred people), participatory and interactive, intense, and stimulating. Are there facilitation skills/techniques that you enjoy and are great at doing? Are there facilitation skills/techniques that you want to improve or work on? Do you have a preferred method?
What does the word "participatory" mean to you? The various definitions of participatory projects can lead to confusion and misunderstandings. They provide detailed case studies of projects in each area, including project descriptions, informal science education goals, participant training techniques, and evaluation outcomes.
Ready to turn your institution into a site of participatory engagement? specializes in designing museum experiences and exhibitions that are community informed, socially stimulating, technologically ambitious, and intriguingly experimental. Want to bring the spirit of this blog to your colleagues and projects?
The book of the same title that he edited is rocking my world, both as a museum professional who cares about inclusion and as a new mother. As we start the process at our museum of updating our permanent history gallery, one of our specific goals is to increase intergroup understanding in our community. Implicit Associations test.
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.
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.
Consider three very different talkbacks in the Santa Cruz Museum of Art & History''s fall exhibition, Santa Cruz is in the Heart: cocktail napkins, rear view mirrors, and refrigerator certificates. design evaluation Museum of Art and History participatorymuseum usercontent' Total number across all three talkbacks: 0.
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.
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.
Many people engage directly with strangers on stage five to discuss images, the stories behind photos, and photographic technique. Here's how the Flickr experience maps to me-to-we design: For a museum example, consider the Walters Art Museum's Heroes exhibition. Ideas participatorymuseum.
"How often do we hear colleagues from museums and galleries stating as their fundamental reason for working co-creatively with audiences that they want to make a great piece of museum work, rather than primarily for reasons of social inclusion or democracy?"
This technique was used in the Slavery in New York exhibition at the New-York Historical Society and continues in the popular StoryCorps project. Rabinowitz commented that "as a 40-year veteran of history museum interpretation, I can say that I never learned so much from and about visitors."
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.
Why do you care about and or work in museums? I don't work in museums because I love them. When I visit a new city, I don't clamor to visit museums. And while I'll visit museums out of professional (and occasionally personal) interest, I don't do it because of a deep emotional connection. And check out the comments.
Many of the talks are related to The ParticipatoryMuseum and I will have books for sale on all of these forays. Here's the list for the next two months: April 14-17 - Denver for Museums and the Web conference. I'm giving a workshop on design techniques for encouraging user participation (sorry, it's full). May 17 - NYC.
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?
I've written before about techniques for talking to strangers, looking at how buttons , buses , and dogs and can all be tools for participatory design. I used that instruction recently to kick off a meeting at a museum planning a participatory education space. Interestingly, at the City Museum in St.
I first learned about this technique from Sam Kaner''s excellent book, Facilitator''s Guide to Participatory Decision-Making. To me, this is analogous to the benefits of having multiple staff members engaged with community partners on participatory projects. Tag Team the Facilitation. Yes, it can be inefficient.
I believe that focusing specifically on the social capacity of an object, rather than its content or interpretation, yields new design techniques for museum exhibits and other participatory spaces. I want to connect these students to a larger group of people interested in exploring topics around social technology in museums.
This is a long post focused on strategic uses of listening rather than specific techniques. For many museums, visitor research--how people use the museum, navigate exhibits, and understand content--may be an equally important arena in which to adopt groundswell listening techniques. Good listening breeds potential.
I personally want to move away from the metaphor of making movies of the computer screen to more shoulder-to-shoulder instructional media and perhaps something that is more participatory or for lack of a better word, social. Tagging in Art Museums. Maybe it is more like moment capture. 3) Links can get lost in email. (4)
It was even more useful to learn how participatory writing visions can be. Use the "hot pen" or automatic writing technique. A SIMPLE WAY TO TRY IT This week, we experimented with visioning at my museum in an all-staff meeting. We learned how to write visions, how to use them, and how to share them with others.
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.
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