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--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.
It gave me a chance to really think about how we have been opening up our museum and what it means for our community. It's only 15 minutes, so I encourage you to watch it , but here are the crib notes for the video-adverse without the hilarious stories and charming photographs. Museums can be incredible catalysts for social change.
Earlier this year, I was fascinated to read the account of a participatory project at the Morrison County Historical Society in Minnesota, in which community members were invited to write essays about “what’s it like” to have various life experiences in the County. How did this project get started? How do we get the history of the poor?
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.
But not enough people care about it anymore, and the museum is fading into disrepair. The Silk Mill is part of the Derby Museums , a public institution of art, history, and natural history. Many people would look at the world''s oldest mechanized silk mill and say that the core content of the museum is silk. What do you do?
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.
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. What's the "use" of visitors' comments? That's hardly revolutionary.
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."
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.
The youtube video is from Star Bucks Campaign. Tim Fullerton from Oxfam America - who organized the campaign and will be speaking about at NTC - shared the URL of the YouTube video. I read a post about user-generated content from the fresh+new blog which is focused on new media in museums.
I get excited about a lot of things in my work at the Santa Cruz Museum of Art & History. That's how I felt when artist Ze Frank got in touch to talk about a potential museum exhibition to explore a physical site/substantiation for his current online video project, A Show (s ee minute 2:20, above).
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.
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.
On October 20, a young woman named Kate will move into Chicago's Museum of Science and Industry and live there for a month. Kate was selected from over 1500 applicants based on a one-minute video, an essay, and an application form. This post is not about the Month at the Museum concept or implementation. That will come later.
What happens when a formal art museum invites a group of collaborative, participatory artists to be in residence for a year? Will the artists ruin the museum with their plant vacations and coatroom concerts? But for museum and art wonks, it could be. Will the bureaucracy of the institution drown the artists in red tape?
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. use digital interfaces.
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.
They wanted to help museums and galleries across the UK make significant, sustained changes in the ways they engage community partners and visitors as participants in their work. The result, Our Museum , is an extraordinary funding program with a focus on community participation. didn't mince words. Here are my three top takeaways.
George Scheer is the director and co-founder of Elsewhere Collective, a fascinating "living museum" in a former thrift store in Greensboro, NC. In this post, George grapples with the challenges of balancing the care for a museum collection with that of contemporary artists-in-residence who are constantly reinterpreting it.
Visitor-contributed photos surround a collection piece in Carnegie Museum of Art's Oh Snap! It can be incredibly difficult to design a participatory project that involves online and onsite visitor engagement. The museum selected and is featuring 13 works recently added to our photography collection.
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?
I like to ask myself this question periodically, challenging myself to find substantive ways for visitors to contribute to our museum. To that end, our exhibitions are full of participatory elements. And when I think back on the past year, some of the most magical things that have happened at the museum have NOT been designed by us.
Lots of museums these days have video comment booths to invite visitors to tell their stories, but how many of those booths really deliver high-impact content? Last week, I talked with Tina Olsen, Director of Education and Public Programs at the Portland Art Museum, about their extraordinary Object Stories project.
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.
How do you help visitors know what they can and cannot do in your museum? Most museums have this figured out: they have signs, they have guards, they have cases over the objects. And this works pretty well in science museums, where designers talk about "hardening" exhibits to withstand the more aggressive touchers among us.
I eagerly read about a new social psychology research study in which whites, Asians, and Latinos engaged in a simple collaborative activity--making a music video together. When the music video was not focused on Mexican culture, no such change occurred. This blog is about shared learning, and I went to engineering school.
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.
The talk is a 35-minute introduction to the OFBYFOR ALL framework, with a museum bent given the audience. Here's the link if you can't see the video embedded below. I realized I was feeling the same fear and excitement that comes with any truly participatory project. I hope watching this video will encourage you to do so too.
Last week marked four years for the Museum 2.0 People--especially young folks looking to break into the museum business--often ask me how I got here. Ed Rodley recently wrote a blog post about museum jobs entitled "Getting Hired: It's Who You Know and Who Knows You." hour at the Museum. I made $26/hour at NASA and $7.25/hour
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!
Cultural Connections is a group of museum professionals who meet up a few times a year and host excellent programs on a variety of topics. This week, they hosted "Let Them Be Heard: Visitor Participation in the Museum Experience," featuring four presentations on incorporating visitors' content into museums. Here's what they did.
If you're into video, check out this 25 minute talk I gave on the conference theme "from place to presence." I just discovered that my keynote at the 2o10 NODEM conference on digital media and heritage is available online.
While I originally wrote this post to advocate for more participatory practice (i.e. letting museum visitors contribute and collaborate in museums), I now see this as a crucial issue also for more democratic and inclusive practice (i.e. Other person: "But doesn't that erode museums' authority?" Me: "Sort of."
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.” Watch a video. Voting, whether for American Idol, national elections, or museum kiosk surveys, falls in this category.
In that spirit, I offer a few things that have excited me in recent weeks: The MCA Denver Holiday Video is out, and it is very, very good. Way better than that video at Museum X where the director drones on about the new initiatives of the year. How should (and do) we treat them?
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. The visitor is given a copy of her poster and the museum keeps a copy as well.
For those of you who are interested, my husband and I chose to crowdsource our future with the video at right and a related future forecasting site here. Huge thanks to everyone who participated in the idea-sharing over the last couple months about how to make Museum 2.0 a more community-oriented place. Per your suggestions, in 2009.
And now, the research group Forrester provides new insights about different kinds of participatory styles among users of social media sites. I've written before about three types of museum users: contributors, lurkers, and judges. In the same way, we shouldn't think of participatory experiences as being "just for creators."
This week, I'm launching a new site: the Voicemail Museum. It's an experiment that merges two of my greatest interests: finding novel, easy ways for visitors to contribute content to museums finding questions that draw such compelling responses that random peoples' answers would be worth browsing To participate, all you need is a phone.
Two weeks ago, I conducted a participatory exhibit design workshop with staff at the Smithsonian National Museum of Natural History. Between the giant squid brainstorming and experimentation, I gave a talk to the larger Smithsonian Institution about multi-platform museum experiences. watch the video.
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. design participatorymuseum usercontent.
Last week I was honored to be a counselor at Museum Camp , an annual professional development event hosted by the Santa Cruz Museum of Art & History (MAH). Nina Simon, the executive director of the museum, is an expert in participatory design and fantastic facilitator. Here’s a quick video.
I'm reaching the end of my consulting days, with just one more day on the road before I dedicate myself to Santa Cruz and The Museum of Art & History. On Monday, April 25, I'll be participating in an online video chat with Andrew Taylor and James Undercofler to explore new business models for arts organizations.
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.
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