Beth's Blog: How Nonprofits Can Use Social Media

OCTOBER 25, 2011

Note From Beth: Yesterday, I attended a convening called “ Beyond Dynamic Adaptability ” for arts organizations about cultural participation in the arts.

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Guatemala Movie Artist Award 93

Museum 2.0

SEPTEMBER 18, 2013

I''ve seen this line of questioning almost completely disappear in the past two years due to many research studies and reports on the value and rise of participation, but in 2006-7, social media and participatory culture was still seen as nascent (and possibly a passing fad). Yes and no.

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Museum Question Participatory Evaluation 45

Museum 2.0

DECEMBER 15, 2014

When basketball players are offering more cogent commentary on racial issues than cultural institutions, you know we have a cultural relevance problem. Museums are a part of this educational and cultural network. Colleges are addressing greater cultural and racial understanding in various courses. Things must change.

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Museum Blogger Cleveland Missouri 52

Museum 2.0

APRIL 25, 2011

I've seen this line of questioning almost completely disappear in the past two years due to many research studies and reports on the value and rise of participation, but in 2006-7, social media and participatory culture was still seen as nascent (and possibly a passing fad). Yes and no.

Question 49

Question Participatory Museum Evaluation 49

Media Cause

AUGUST 9, 2021

While much of the branding and design inspiration we run across is either from consumer brands or individual artists, it all provides us with the opportunity to discover new principles, practices, and approaches that we can incorporate into our nuanced nonprofit world. What would the structure be like? What about content?

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Design Experiment Nonprofit Collaboration 52

Museum 2.0

JULY 17, 2012

It happened because we: partnered with local artists and community organizations whose passion and generosity made it possible for us to create incredible events. Over 800 people volunteered their talents to support our programs, with the majority collaborating on our monthly themed 3rd Friday events. were shamelessly resourceful.

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Museum History Arts Artist 47

Beth's Blog: How Nonprofits Can Use Social Media

NOVEMBER 11, 2006

I've been reading Henry Jenkin's book, Convergence Culture: Where Old and New Media Collide" - I ordered after I heard him speak at the MacArthur Foundation Digital Media and Learning briefing (Nancy Schwartz recently wrote about it here ) and read his white paper on participatory culture. s creations with others 3.

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Social Network Network Guide Participatory 50

Museum 2.0

FEBRUARY 9, 2010

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 participatory projects that involve story-sharing and crowdsourced collecting (e.g.

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Museum Difference Participatory History 29

Beth's Blog: How Nonprofits Can Use Social Media

SEPTEMBER 29, 2015

In some ways, a design lab can be thought of as “participatory research and testing.”. It is a useful technique for creating a more responsive, flexible organizational culture as well as coming up with more innovative ideas for programs and grants that are a good fit. How do we leverage the “rain” of culture change?3.

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Design Strategy Facilitation Advocacy 50

Museum 2.0

APRIL 14, 2011

The best way I can really push my own participatory practice and thinking is to operate an institution and work with a community I care about over time. The trustees, staff members, volunteers, and supporters are dedicated people who both love the museum and appreciate the seriousness of the challenges it faces.

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History Museum Arts Consultant 55

Museum 2.0

MAY 21, 2014

Over the past three years, we''ve tripled our attendance, doubled our budget, and, most importantly, established deep and diverse relationships with community members, artists, and organizations across Santa Cruz County. I''ve never worked in such a supportive, energized, active environment. Naming our goals and our culture.

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Museum Director History Teen 49

Museum 2.0

AUGUST 14, 2013

As a person who works for a science museum, I work in an environment that supports play. But at my museum , the support doesn''t stop at our visitors. We ran with it and have since generated data about decision-making, cooperation, competition and negotiation for scientists (and also some artists) to play with.

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Museum Roles Game Participatory 51

Museum 2.0

MAY 9, 2012

And I talked about some of the challenges of finding the right income and expense models for a museum that operates more like a community center than a traditional cultural institution. In particular, we had a great group of 15 talking about participatory history experiences on Sunday. Participatory art and co-creation on the rise.

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Reflection Columbus Museum Participatory 43

Museum 2.0

FEBRUARY 22, 2012

What happens when a formal art museum invites a group of collaborative, participatory artists to be in residence for a year? Will the artists ruin the museum with their plant vacations and coatroom concerts? Will the bureaucracy of the institution drown the artists in red tape? No, this is not a reality TV show.

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Artist Museum Project Public 39

Museum 2.0

MAY 19, 2010

Darcie described the Centre Pompidou in Paris as a place where she is surrounded by working artists, where things change frequently, and where she feels as a visitor that anything can happen. This sense of complicity is reinforced and supported by the fact that people obey the rules of the line and don't push past each other.

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Community Museum Participatory Relationship 21

Museum 2.0

JUNE 10, 2010

While there, I was lucky to get to experience a highly participatory exhibition that the MIA mounts once a decade: Foot in the Door. The rules are clear: anyone who lives in Minnesota and considers her/himself an artist can contribute one piece. Foot in the Door is a straightforward contributory project.

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Participatory Museum Arts Artist 46

Museum 2.0

JULY 1, 2008

The popular option at this time is to try to beat the experiential competition and ignore the Web-based cultural shift. The good news is that there are hundreds of thousands of people debating the content of every book, scientific principle, and artistic movement on the Web right now. They want expert support, and we can provide it.

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Museum Library Participatory Wikipedia 20

Museum 2.0

JUNE 12, 2009

Here’s what happened: an art critic named Jerry Saltz posted an incendiary note on Facebook about the very low representation of women artists on the 4th and 5th floors (painting and sculpture) of MoMA. When those spaces are factored in, there are more than 250 works by female artists on view now. Let’s start there. But don't despair.

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Conversation Museum Artist Minneapolis 21

Museum 2.0

JULY 22, 2008

Feminists, Disabled People, Muslims, Police, Goths, Gays) Readers, who check out the Books for 45-minute to 2-hour discussions Librarians, who facilitate the whole process Since 2000, Living Libraries have been produced primarily in Europe at festivals and libraries with support from the Council of Europe youth sector. well, you know.

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Library Model Museum Europe 20

Have Fun - Do Good

JULY 31, 2009

On Spot.us, we're trying to bring in a culture of transparency in journalism, where we say, "Invite the public into the reporting from day one. The other two things that happened was that I started working a lot in participatory journalism. Again, that is very different from the traditional culture of journalism and journalists.

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Interview Fund Report Community 40

NTEN

MARCH 16, 2011

Of course, at Games for Change, we support and assist in creating games for social good. 5 Macon Money Macon Money is an innovative project that aimed to unite social, racial, cultural, gender, and economic gaps - all while boosting the local economy! Everyone wins!

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Game Impact Libya Social 88

Museum 2.0

JULY 24, 2012

When we talk about making museums or performing arts organizations more participatory and dynamic, those changes are often seen as threatening to the traditional arts experience. What if historic arts experiences were actually a lot more participatory? But what if the "traditional" arts experiences is a myth?

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Greece Arts Industry Participatory 51