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Last week, I gave a talk about participatory museum 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?" Many teens love to perform for each other. First, teens often have incredibly tight social spheres.
It’s 2019, and a whole lot is changing in the museum and nonprofit world. That’s not to mention how strained museums already are in terms of resources. According to the American Alliance of Museums, the average museum has 6 volunteers for every paid staff member , a ratio which s oars to 18:1 in museums with budgets under $250,000.
Last Friday, I witnessed something beautiful at my museum. A group in their late teens/early 20s were wandering through the museumwide exhibition on love. When I walked by the first time, the teens were collaging and Kyle and Stacey were talking. At museums, we mostly bond with the friends and family with whom we attend.
Last Friday night, my museum hosted a fabulous (in my biased opinion) event called Race Through Time. It was a local history urban scavenger hunt that sent teams of 2-5 people out into the city to track down as many historic checkpoints as they could over the course of an evening. Performances just for teens.
I’ve received a few inquiries over the last year about museums and geocaching. to ask him all the dumb questions about geocaching and museums you can imagine… and a few more. Some people use a higher-tech logging system by tracking the items online to see who has found them and where they’ve gone. I sat down with Seth!
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!
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. with sharpies.
For example: “Many teen girls struggle with their self-esteem thanks to Instagram and Snapchat. Please help us open the door for a teen to attend our personal development conference, benefit from having a mentor, and get on a path to college and a career.” . We are so excited for them! .
This summer, I worked with the Chabot Space & Science Center on a design institute in which eleven teens from their Galaxy Explorers program designed media pieces for an upcoming Smithsonian exhibition on black holes. There was no initial design, no graphics, and no idea of where the teen' work would fit into an overall structure.
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 tracked down as many people as we could and developed a big spreadsheet so we could evaluate the possibilities.
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. I spent an hour this morning "brand listening" to what the online world says about one of my favorite museums, the Exploratorium.
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.
The recent flurry of restrictions that has sent teens fleeing? 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 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.
The people were of all ages--moms with babies strapped to their fronts, six year-olds using skillsaws, pre-teens building robots, teenagers doing homework. There are lots of great science museum resources, but not where these kids can walk after school. Any big museum has barriers and limitations to full community ownership.
If you work in nonprofits and track relevant research, you no doubt have come across the Social Citizen Blog from the Case Foundation and the paper, Social Citizen , from Allison Fine. Nina Simon a proud member of Gen Y, writes the very awesome Museum 2.0 blog, but you don't have to be a museum person to get a lot of value from it.
If you have a tween or a teen, I’m sure you’re familiar with TikTok. That doesn’t mean Apple can’t track you because you’re in the iOS thing. But it means the apps can’t track you. And not just museums jumped into that, it was a lot of different organizations. Okay, TikTok now.
The film centres around a man known to local authorities as Buster, who's being tracked for breaking into and living in people's holiday homes in mountainous Montana. Co-presented by Lynch's company Absurda and Parisian contemporary art museum Fondation Cartier, the film was written, directed, and edited by Lynch himself. UPDATE: May.
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