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Children and teens who volunteer tend to have better health and lower levels of anxiety and fewer behavioral problems than those who dont volunteer. Try joining an organization or association in your community, taking part in neighborhood cleanups, or volunteering at your local senior center, animal shelter, or museum.
Ruth Cohen – American Museum of natural History. Jason Eppink – Museum of the Moving Image. Trying to engaged the teen-to-twenty-something who normally may not use the research library. Ruth Cohen – American Museum of natural History. Jason Eppink – Museum of the Moving Image.
Last week''s New York Times special section on museums featured a lead article by David Gelles on Wooing a New Generation of Museum Patrons. In the article, David discussed ways that several large art museums are working to attract major donors and board members in their 30s and 40s. David describes himself as a "museum brat."
This week, my colleague Emily Hope Dobkin has a beautiful guest post on the Incluseum blog about the Subjects to Change teen program that Emily runs at the Santa Cruz Museum of Art & History. Subjects to Change is an unusual museum program in that it explicitly focuses on empowering teens as community leaders.
Over the past year, I've noticed a strange trend in the calls I receive about upcoming participatory museum projects: the majority of them are being planned for teen audiences. Why are teens over-represented in participatory projects? Why are teens over-represented in participatory projects?
Submitted by Nina Simon, publisher of Museum 2.0. I’ve had it with museums’ obsession with open-ended self-expression. And yet many museums are fixated on creators. Museums see open-ended self-expression as the be-all of participatory experiences. This is a problem for two reasons.
I’ve had it with museums’ obsession with open-ended self-expression. And yet many museums are fixated on creators. Museums see open-ended self-expression as the be-all of participatory experiences. This is a problem for two reasons. These are all active social endeavors that contribute positive value to the social Web.
This is one of those important problems we were talking about last week. There's the barrier of the concern that this work is "social work" and not art--and therefore doesn't belong in a museum or a theater. He got to see the museum process from the inside. You should read this report.
So as a teen, I was the first to report my classmates if they smoked ganja,” said Buwanka, who only wanted to reveal his first name. While his customers come from all walks of life, Dinesh said that most of them are teens. Dinesh agrees that teens are aware of the harmful substances in chemically treated KG. It’s cheap.
For example: “Many teen girls struggle with their self-esteem thanks to Instagram and Snapchat. That insecurity can lead to a variety of problems as these vulnerable girls make decisions that will impact the rest of their lives. Do you describe the problem you are addressing in a way that the reader will understand the urgency?
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." This seems like an appropriate time to share the story.
A museum can be friendly, or serious, or funny, while maintaining a traditional relationship with visitors as consumers of experiences. Community galleries look old-fashioned because citizen curators aspire to emulate the most traditional vision of a museum possible. But it's far more typical to focus on just one.
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. So many museum exhibitions relegate the participatory bits in at the end. The Love Lounge I LOVE.
The speakers for this panel include: Tracy Fullerton - Electronics Arts Game Innovation Lab Ruth Cohen - American Museum of natural History Elaine Charnov - The NY Public Library Jason Eppink - Museum of the Moving Image Syed Salahuddin - Babycastles Elaine Cohen: The New York Public Library 100 Years of the flagship library in New York.
In the spirit of a popular post written earlier this year , I want to share the behind the scenes on our current almost-museumwide exhibition at the Santa Cruz Museum of Art & History, Santa Cruz Collects. We made a giant mobile for the center of the museum out of origami birds folded from visitor comments received in the past year.
Which of these descriptions exemplifies participatory museum practice? Museum invites community members to participate in the development and creation of an exhibit. 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.
Here's one of my favorite stories about the London Science Museum and their work to make their science shows relevant to families with deaf or hearing-impaired family members. Think of the Subjects to Change teen program, or the free lunches at the Cleveland Public Library. This chapter appears midway through the book.
Last month, the Christian Science Monitor published an article entitled, "Museums' new mantra: Connect with community." It took me a couple weeks (and various museum blog responses ) to realize what bugs me about this article--it treats "connecting with community" as a marketing ploy, a "mantra" rather than a mission.
A museum experience I’ll always remember: In 2002, I worked at the Boston Museum of Science with a program in which high school students from a nearby charter school spent half their school time at the museum. They took regular classes, museum-specific classes, and had internship-style museum jobs.
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?
In many museums, comment cards are currently the most "participatory" part of the visitor experience. If they are read, it is primarily to address any chronic problems (i.e. These services could be a powerful, cheap alternative to comment cards--especially those that are focused towards making suggestions about the museum.
This week, we're looking at the first section, Talking Back and Talking Together , which features comment boards, talk-back walls, and discussion forums at a variety of museums. At the Boston Museum of Science's video kiosk on wind power, 3/4 of people were most interested in making their own video (as opposed to watching others).
I''ve now been the executive director of the Santa Cruz Museum of Art & History for three years. 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. Letting myself ignore glaring problems that still exist.
By a strange and lucky coincidence, I was at the Experience Music Project and Science Fiction Museum (EMPSFM) in Seattle for a two-day workshop. EMPSFM is one of a handful of museums worldwide for which the death of the King of Pop is a very big deal. Are museums only relevant when they can serve our most pressing needs?
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.
This week, thoughts on Chapter 12 of Elaine Gurian’s book Civilizing the Museum , "Threshold Fear: Architecture program planning." In this essay, Elaine discusses the various barriers to entry for non-traditional visitors to museums, that is, the threshold fear that keeps such potential visitors from walking in our doors.
Every other year, they convene TUPAC, a group of 35 outside advisors, including teens, college students, Temple University professors, artists, philanthropists, and community leaders. This problem isn't unique to Temple Contemporary. They live their mission, working in questions and projects rather than exhibitions and programs.
The problem with robots is you can never tell what they're thinking. Co-presented by Lynch's company Absurda and Parisian contemporary art museum Fondation Cartier, the film was written, directed, and edited by Lynch himself. — S.H. How to watch: I Am All Girls is now available to stream on Netflix. I Am Mother. Credit: Netflix.
There are lots of things visitors can’t do in museums. But what about the things that museum professionals can’t (or feel they can’t) do? This week at the ASTC conference, Kathy McLean, Tom Rockwell, Eric Siegel and I presented a session called “You Can’t Do That in Museums!” And so my question is, why are we keeping them away?
Rachel, Jack and Ashley Too" Season 5, episode 3 Teen Rachel (Angourie Rice) is gifted a cutesy robot companion meant to echo her favorite pop star Ashley O (Miley Cyrus). Part of the problem is that video game mogul James Walton (Jimmi Simpson) has made existence in the game costly, forcing them to go on raids to fuel their ship.
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