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The book includes a "Connected Quiz, a set of reflective questions that can help an activist think about how well they or their organization is connecting with others -- something to think about before jumping into the tools. Some notes from the white paper, I'm still digesting it (not being a digital native, I had to print it out).
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.
Henry Jenkins made his first official appearance in Second Life visiting the Teen version, known as the "Teen Grid," where the Global Kids Island is hosting an event, A World Fit for Children Festival. I listened to the audio feed of him talking to the kids, answering their questions.
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?
The content focuses on the question of WHY we collect and how our collections reflect our individual and community identities. This exhibition represents a few big shifts for us: We used a more participatory design process. Without further ado, here's what we did to make the exhibition participatory. We had some money.
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 week marks five years since the book The Participatory Museum was first released. Across the museum field, the questions about visitor participation have gone from "what?" I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. and "why?" to "how?".
Single-speaker lectures languish while lightning talks featuring teen photographers, phD anthropologists, and professional dancers are packed. This approach allows us to sidestep the question of parallel versus pipeline programming and instead create a new pipeline that is about unexpected connections and social experiences.
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. If these questions excite you, I hope you will consider applying. Most school tours are for intact groups—a single class or grade.
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.
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. I'm reading a book of essays about how to teach written by teens. Many of the teens write, "learn with us. It's very relational.
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? I was surprised by her question. Aren't art museums less open to participation than other kinds of museums?"
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 for sharing your ideas and case studies and comments and questions. I''ve never taken a break from blogging before.
This is a question I've been puzzling over now for a few months, both professionally and personally. Museums and other venues are offering special programs for teens, for hipsters, for people who want a more active or spiritual or participatory experience. What will it take for you to do it again? How do you form an arts habit?
If someone asked you that question, how would you answer? Answers will differ depending on who's asking, but they are also influenced by the designed environment in which questions are asked. If someone asks you a question on Twitter, you can only respond with 140 characters. "Where were you last night?"
I'll be adding a bunch of answers to your questions and some other ways to browse the archives this weekend, and then I'll link to it from the main blog site starting on Monday. related questions , starting points , and guides to the blog--for this to truly be a living resource it has to keep growing. Living Archive.
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! Some of the most interesting questions included: how do you verify the accuracy and authenticity of visitor-contributed content?
At the big one, I worked on a small project with teens to design science exhibits for community centers in their own neighborhoods. Now, as a freelancer, my work combines long-term, creatively challenging participatory exhibit projects with lots of little workshops and brainstorming sessions with institutions around the world.
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. is a more powerful question than “What do you think?” But what if you asked questions instead? Or a specific question or idea about how to do it well?
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. When I talk with people in science centers, some really dedicated people working on these questions, they acknowledge that geography is a big hurdle they have to get over.
Temple Contemporary’s mission is to creatively re-imagine the social function of art through questions of local relevance and international significance. They live their mission, working in questions and projects rather than exhibitions and programs. One of TUPAC's current questions is about the state of art education.
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?" IdeaScale is less useful for questions like, "What should we change about our museum?"--it
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?” Projects participatory museum. This isn't all about numbers; some communities are small but can have huge positive impact.
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. In fact, I find that participatory products are often more likely to reflect a formal sensibility than their traditional counterparts.
Teens advocating for all-gender bathrooms. It's a good question. You can show up to a public meeting and ask a question. That means offering clear, visible, appealing participatory experiences that enhance the destination experience. Printmakers leading workshops. Volunteers restoring a historic cemetery. Attend a rally.
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