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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." the ability to follow the flow of stories and information. " He describes what Ian observed what happened with his youth audience.
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.
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. I show the tool and then they say, “yeah, but we really want people to share their own stories about fly-swatters,” or, “we think our visitors can make amazing videos about justice.” It’s like cooking.
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. I show the tool and then they say, “yeah, but we really want people to share their own stories about fly-swatters,” or, “we think our visitors can make amazing videos about justice.” It’s like cooking.
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?
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? 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. The exhibit opens.
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. I don't know what formed the bridge between the artists and the teens in this circumstance. Kyle had brought his baby with him.
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? They are frequently about real people's stories. Aren't art museums less open to participation than other kinds of museums?"
Your friend who tells fascinating, colorful stories may not be the person you turn to for the straight dope. 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.
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. THINGS I''M MOST PROUD OF: Making space for distributed leadership.
This seems like an appropriate time to share the story. My story is more a case of "Getting Hired: It's What You Want, How Aggressive You Are, and What Ideas You Can Offer." At the big one, I worked on a small project with teens to design science exhibits for community centers in their own neighborhoods.
Side Trip is an immersive environment full of interactive experiences that let visitors share their own stories of the 1960s, make their own rock posters, and explore the music and vibe of the time. 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.
In the case of Slavery in New York , the end of the exhibition featured a story-capture station at which visitors could record video responses to a series of four questions about their reactions to the exhibition. Tags: Talking to Strangers design participatory museum usercontent interactives.
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! So far, most participatory museum design projects are heavily guided by the institution. MN150 will have formal summative evaulation, which is wonderful.
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. What if you sent your members requests for their best and worst visit stories and then posted those stories publicly on your website?
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. For example, the Exploratorium is an extraordinarily participatory museum, but it''s not nearly as participatory as a Community Science Workshop. It''s powerful.
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. If not, consider whether this is the right partner and where better friendships might be found.
The recent flurry of restrictions that has sent teens fleeing? Structure the space with a clear story (and commensurate rules). Tags: participatory museum visitors. When you think of MySpace, what is the first thing that comes to mind? The irritating design? The bizarre obsession with "adding" friends? Or is it the stalkers?
Looking closer, I saw that each seat had its own handwritten label, telling the story of the Philadelphia cultural institution from which it originated. Every other year, they convene TUPAC, a group of 35 outside advisors, including teens, college students, Temple University professors, artists, philanthropists, and community leaders.
Teens advocating for all-gender bathrooms. When I share these stories at conferences, someone always asks: what about institutions that serve millions of visitors each year? That means offering clear, visible, appealing participatory experiences that enhance the destination experience. Printmakers leading workshops.
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