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" I'm trying to walk the walk and talk the talk of Remixing Content for nonprofits. One thing you'll notice is that the presentation itself is a remix of a remix. I remixed it from an earlier prsentation called Associations 2.0 Mashup or: Why educators should learn to stop worrying and love the remix.
The concept of openness. offers personal insights in opening up to new ideas and letting go of information, hierarchy and "proprietary" thinking. A participatory culture is also one in which members believe their contributions matter, and feel some degree of social connection to one another. vlogging, and podcasting).
Next week I'm doing a Webinar for Extension Professionals , a remix of 10 Steps to Association 2.0 which was a remix of Marnie Webb 's Ten Ways Nonprofits Can Change the World. My initial remix thought (wrong) was to look for examples that were related to agriculture, but the extension is so much more. Openness - ????A
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. The project never gets "full" and is always open to new contributors.
He created the above "open source documentary" on Net Neutrality called Humanity Lobotomy. He is encouraging people to download and remix it or spread it. I'm seeing more and more examples of participatory media -- take for example WGBH's Video Sandbox. And, as you can see below, Mike Ambs, of Caliblog already has.
To me, an open photo policy is a cornerstone of any institution that sees itself as a visitor-centered platform for participatory engagement. But visitors and visitor research deserve voices in the discussion about whether photo policies are open or closed. And I think the fourth and fifth are bizarre and ungenerous to visitors.
This is the final segment in a four-part series about writing The Participatory Museum. This posts explains why and how I self-published The Participatory Museum. Few publishers was open to Creative Commons licensing and to giving away the content for free online. Why Make it Open? Check out the other parts here.
The next step, of course, is to throw in a little remix and participatory media culture into it! The content is not moderated and it is open, although there is a disclaimer posted about violating civility rules and how they will pull the plug. Let's examine this as a community-driven tagging project.
In the beginning, TechSoup’s Marnie Webb, Daniel Ben-Horin, and Billy Bicket created NetSquared to "remix the web for social change." which heralded a new, participatory web culture. To get going, they built the first NetSquared website using open-source Drupal. " The year was 2005. The Iraq War was raging.
In code We Trust: Open Government Awesomeness panel Friday March 12 2:00 PM - "In Code We Trust" is the new motto for Government in the 21st century. Across the country, geeks inside and outside of government are developing a new model for a participatory and transparent Federal, State and Municipal governments.
And in a world where visitors want to create, remix, and interpret content messages on their own, museums can assume a new role of authority as "platforms" for those creations and recombinations. Ideas participatory museum usercontent. It's based on creation and delivery of experiences. Core Museum 2.0
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. The space is full of funky, period-ish furniture, everything touchable, everything open to sprawl on or hang out.
This week, I've had multiple conversations with colleagues in the arts, symphonies, and urban planning about the fear professionals have about "losing control" when opening up new opportunities for people to participate. While I originally wrote this post to advocate for more participatory practice (i.e.
If it’s not open to the public, I don’t care if it’s a book or a fossil—the methods of interpretation and audience engagement are fundamentally different. If museum and library content is licensed, not owned, how can we work within those licenses to allow visitors to use and remix to their heart’s content?
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