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
The concept of openness. offers personal insights in opening up to new ideas and letting go of information, hierarchy and "proprietary" thinking. According to recent study from Pew Internet and American Life project, more than one-half of teens have created media content and roughly one-third have shared ocntent.
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. Museums see open-ended self-expression as the be-all of participatory experiences. 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. Museums see open-ended self-expression as the be-all of participatory experiences. This is a problem for two reasons.
It is multi-disciplinary, incorporates diverse voices from our community, and provides interactive and participatory opportunities for visitor involvement. This post focuses on one aspect of the exhibition: its participatory and interactive elements. So many museum exhibitions relegate the participatory bits in at the end.
This exhibition represents a few big shifts for us: We used a more participatory design process. Our previous big exhibition, All You Need is Love, was highly participatory for visitors but minimally participatory in the development process. Without further ado, here's what we did to make the exhibition participatory.
Last week, I gave a talk about participatory museum practice for a group of university students at UCSC. Teenagers are often the target for participatory endeavors, and they definitely have high interest in creative expression, personalizing museum experiences, and using interactive or technological tools as part of their visit.
Which of these descriptions exemplifies participatory museum practice? The exhibit opens. 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. In the first case, you are making the design process participatory.
This past weekend, in conjunction with our exhibition about Ze Frank's current participatory project, A Show , we hosted " Ze Frank Weekend "--a quickie summer camp of workshops, activities, presentations, and lots of hugging. Or that we take a group photo together at the end of the day. It was pretty freaking amazing.
I''m open to any questions you want to share in the comments. 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. Participatory work can be very labor-intensive. In the meantime, here are some.
Recently, I was giving a presentation about participatory techniques 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?" I was surprised by her question.
It makes us uncomfortable with opening museum content up to comment, tagging, and alterations by visitors. Museums aren't the only venues facing this question: news outlets, corporate brands, and educators are also grappling with the question of trust in the participatory age. Many of the teens write, "learn with us.
You''re in for a treat, with upcoming posts on creativity, collections management, elitism, science play, permanent participatory galleries, partnering with underserved teens, magic vests, and more. I have always approached blogging as an open invitation to "wander along with me" in a learning space driven by curiosity.
At the big one, I worked on a small project with teens to design science exhibits for community centers in their own neighborhoods. Eventually, they had an opening for "Exhibits and Programs Associate"--a low-level jack of all trades position supporting the department. It was going to be developed by contractors and overseen by Anna.
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.
If you feel that your audience needs monitoring or social support, position the talkback stations in open settings. Placing feedback stations in the open lowers the probability of socially inappropriate behavior, and it also allows parents and teachers to help struggling visitors answer the questions at hand.
The London Science Museum team designed an entire exhibition and then left a few open vitrines at the end for visitors to contribute their own toys during the run of the exhibition. I worked on one project in which the client institution thought they wanted unfettered teen expression.
Visitor Co-Created Museum Experiences This session was a dream for me, one that brought together instigators of three participatory exhibit projects: MN150 (Kate Roberts), Click! learning to enter open, personal relationships with participants. So far, most participatory museum design projects are heavily guided by the institution.
Sure, it's social, but people stick to their own "pods"--families, teens, adults--and don't diverge or merge. But since the spaces are largely open, it feels threatening to approach strangers. Ideas participatory museum Unusual Projects and Influences visitors. Step 3: a successful "five" is given. Why does this happen?
We're always happy for more bodies in the door, but if supporting teens means alienating seniors, there's a problem. Be open at times that your "community" is likely to come. And none of the museums in the park was open. Open your doors really wide. We are a work in progress and open to hearing opinions so speak up.
When I watch the videos teens created at the Exploratorium and post on YouTube, I see the aspects of the exhibits they thought were most important to share with their classmates. If we open our ears, our museums and businesses can join these communities. Tags: Book Discussion: Groundswell marketing participatory museum.
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. At that point, we opened three new locations: Sanger , Greenfield , and a new San Francisco workshop in the Excelsior neighborhood because the Mission has changed so dramatically.
The recent flurry of restrictions that has sent teens fleeing? While our online world has opened up, the physical world, at least in America, is more suspicious, more private, and more protective of personal space than ever. Maybe not, but it does make people more open to doing so. Tags: participatory museum visitors.
In many museums, comment cards are currently the most "participatory" part of the visitor experience. It's the one place where visitors can offer direct, open-ended feedback on the institution's content and services. It may be useful if you want to ask "What kind of teen programs should our museum offer?"
It opens up new conversations about the work of art in our communities. Every other year, they convene TUPAC, a group of 35 outside advisors, including teens, college students, Temple University professors, artists, philanthropists, and community leaders. You can't open yourself fully to the possibilities.
I've written before about the difference between participatory processes and products , but this question of frameworks and sensibility is more broadly applicable to community engagement strategies. The Public School's framework is more open than Machine Project's, but that doesn't mean it has a more informal sensibility.
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