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Another point of intersection here for me is Henry Jenkins recently published 72-page white paper " Confronting the Challenges of Participatory Culture: Media Education for the 21st Century." " He describes what Ian observed what happened with his youth audience. Expressions (media creation, mashups, etc).
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. You get to contribute to a collaborative project that produces something beautiful. You see the overall value of the project.
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. You get to contribute to a collaborative project that produces something beautiful. You see the overall value of the project.
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 participatoryprojects? Why are teens over-represented in participatoryprojects?
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? But the difference between the two examples teases out a problem in differentiating "participatory design" from "design for participation." In the first case, you are making the design process participatory. In the second, you make the product participatory.
This past weekend, in conjunction with our exhibition about Ze Frank's current participatoryproject, A Show , we hosted " Ze Frank Weekend "--a quickie summer camp of workshops, activities, presentations, and lots of hugging. It was pretty freaking amazing. To get lots of participation, always celebrate the human quality of the work.
I was talking this week with Mark Allen, the founder of Machine Project (an alternative arts space in LA), about different models for community engagement in cultural institutions. For example, consider two independent arts organizations in Los Angeles -- Machine Project and The Public School.
This week marks five years since the book The Participatory Museum was first released. I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. Since 2010 I have seen, again and again and again, how valuable human facilitation is to the participatory process.
A group in their late teens/early 20s were wandering through the museumwide exhibition on love. At the adjacent table, my colleague Stacey Garcia was meeting with a local artist, Kyle Lane-McKinley, to talk about an upcoming project. When I walked by the first time, the teens were collaging and Kyle and Stacey were talking.
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? For this reason, I see history museums as best-suited for participatoryprojects that involve story-sharing and crowdsourced collecting (e.g.
For this reason, I spoke specifically about how to make dream projects possible at real institutions. Pick apart your mission statement, and look for the words and phrases you can connect your project to. What new projects might allow you to better reflect those aspirations? Or you can read this condensed version of the talk.
What started as a series of experiments and happy accidents is now embedded in how we develop and evaluate projects. Single-speaker lectures languish while lightning talks featuring teen photographers, phD anthropologists, and professional dancers are packed.
School programs fall within this landscape, and our goal is not to see them as completely separate from the other work we do with youth—Kid Happy Hour, family festivals, teen program—but on a continuum. How can we develop programming that encourages students to make connections with kids of other ages or from other parts of our County?
Ready to turn your institution into a site of participatory engagement? Want to bring the spirit of this blog to your colleagues and projects? I am available for consulting and strategic development, and creative design and leadership of exhibition, technology, and museum planning projects.
At the big one, I worked on a small project with teens to design science exhibits for community centers in their own neighborhoods. I tried to master the administrative work as quickly as possible so I could keep volunteering for other creative projects. It was going to be developed by contractors and overseen by Anna.
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. Thank you to everyone who recommended a favorite post from the past or who helped out with a guest post. To me, Museum 2.0
Now, onto the links: If you have a great idea for a participatory learning project that uses digital tools, the MacArthur Foundation wants to give you money. I'm currently doing a project in Canada, and in my hunt for international social media statistics, I came upon this amazing Social Media Tracker report.
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! This spanned all the projects. how do you set clear criteria for participation when the project is experimental and ever-changing?
I saw teens and adults who sat and did this activity for 45 minutes and wasn’t surprised to hear that some people spend over an hour on it. A large wall featured a slowly undulating, multi-colored projection passing by, like the visual aftermath of an accident in a lava lamp factory. Projects design participatory museum.
Sure, it's social, but people stick to their own "pods"--families, teens, adults--and don't diverge or merge. Ideas participatory museum Unusual Projects and Influences visitors. Step 3: a successful "five" is given. Why does this happen? It's not because the boardwalk is a social place. But I'm not so sure of this.
This technique was used in the Slavery in New York exhibition at the New-York Historical Society and continues in the popular StoryCorps project. There was a wonderful example at the Ontario Science Center in their Hot Zone area, which features several voting and commenting kiosks popular with teens.
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. Most Workshops also run a wide range of additional programs - supplemental school day programs, afterschool programs, mobile units that go to housing projects.
Teens advocating for all-gender bathrooms. That means offering clear, visible, appealing participatory experiences that enhance the destination experience. This can happen through committees, summits, or long-term projects in which a group puts on a show builds something together. Printmakers leading workshops. You get the idea.
Librarian Aaron Schmidt tells the great story of a game night of Dance, Dance, Revolution at his library in which a teen asked him: “Hey Aaron, can I go upstairs to grab a magazine and book to read?” Projectsparticipatory museum. If not, consider whether this is the right partner and where better friendships might be found.
Surveys, interviews, tracking studies, and exhibit evaluations are often isolated events, and the information gleaned is specific to particular projects. 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.
In many museums, comment cards are currently the most "participatory" part of the visitor experience. It may be useful if you want to ask "What kind of teen programs should our museum offer?" It's the one place where visitors can offer direct, open-ended feedback on the institution's content and services.
Let's say you spend a year working with a group of teens to co-create an exhibition, or you invite members and local artists to help redesign the lobby. In many cases, once the final project is launched, it's hard to detect the participatory touch. Not every participatory process has to scream "look at me!"
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. We''re investing a lot in a public plaza project outside of the museum. In the meantime, here are some.
They were there for project brainstorming. It encourages process-driven performances and art projects. They live their mission, working in questions and projects rather than exhibitions and programs. This makes Temple Contemporary excel at responsive, relevant projects. They were there for artist talks.
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