17 Ways We Made our Exhibition Participatory

Museum 2.0

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. Pull up an armchair for a tour of our participatory hits, misses, and related discoveries. So many museum exhibitions relegate the participatory bits in at the end.

12 Ways We Made our Santa Cruz Collects Exhibition Participatory

Museum 2.0

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. Instead of a total budget of $200 for participatory elements, we spent about $4,000 on materials for participatory elements in this exhibition. Without further ado, here's what we did to make the exhibition participatory.

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Adventures in Participatory Audience Engagement at the Henry Art Gallery

Museum 2.0

In 2009 , students built a participatory exhibit from scratch. Thirteen students produced three projects that layered participatory activities onto an exhibition of artwork from the permanent collection of the Henry Art Gallery. What I Learned Part 1: Facilitation is Powerful When I taught this class the first time, I put a real premium on the idea of designing participatory activities that were visitor-driven and required minimal or no facilitation.

Getting in on the Act: New Report on Participatory Arts Engagement

Museum 2.0

Last month, the Irvine Foundation put out a new report, Getting In On the Act , about participatory arts practice and new frameworks for audience engagement. I've often been asked about examples of participatory practice in theater, dance, and classical music, and this report is a great starting point. It can be easy to conflate engaging activities with participatory opportunities, and I'm glad they were explicit about the difference.

Participation, Contemplation, and the Complexity of "And"

Museum 2.0

Our museum in Santa Cruz has been slammed by those who believe participatory experiences have gone too far. We always knew that the inclusion of participatory and community-centered practices in arts institutions was controversial. To me, the backlash against participatory and community-centered experiences is not surprising. I''ve always understood that participatory experiences are not for everyone. "The words we use in attempting to change museum directions matter.

The World Beach Project: A Creative Contributory Project that Shines

Museum 2.0

As noted above, the display of the beach artwork is blended well with the ask, so visitors can easily transition from spectator to participant. design participatory museum usercontent There are lots of museums (and organizations of all kinds) looking for ways to inspire users and visitors to produce their own content and share it with the institution online. Today, a look at one of the projects I believe does this best--the World Beach Project.

The Nonprofit Book We’ve Been Waiting Four Years To Read Is Finally Here: New Power

Beth Kanter

It is open, participatory, and peer-driven. This way of working requires a different, more participatory leadership model and mindset that Allison Fine and I first wrote about in The Networked Nonprofit and others have written about called “networked leadership.” The book suggests that those who want to reach their goals and be successful whether it is for good, bad, or the trivial, need to know how to best channel this participatory energy. How do you blend?

New Models for Community Partnerships: Museums Hosting Meetups

Museum 2.0

There are communities for everything online, and chances are you can find a group that offers a good blend of related interest and current non-visitation to your museum. Projects participatory museum I've long believed that museums have a special opportunity to support the community spirit of Web 2.0 as physical analogs to virtual community platforms. People who engage deeply in any online community, whether a bulletin board or social networking site, want to meet in person.

AAM Conversations: Want to Talk?

Museum 2.0

Participatory history programming. Over the past year, we've found it fairly easy to invent and sustain participatory art and craft projects. How do we deal with the blending of personal and institutional goals when it comes to contributing to efforts to improve the whole community? (No relation to AAM. Just cute.) I'm heading this weekend to the American Association of Museums conference in Minneapolis.

Is it OK to Smash That? The Complications of Living Art Museums

Museum 2.0

blends sculpture, repetition, and ritual performance in a political statement about the genocide of animals in factory farms. I''ve seen participatory artworks that lay untouched by visitors because the invitation to participate is not explicit enough. Throw in a few participatory elements, and suddenly you have visitors trying to arbitrate amongst themselves. Every day for the past two months, a man has entered the largest gallery in my museum.

Three Exhibition-Related Opportunities in 2013

Museum 2.0

In this full-time role, you will be responsible for interactive exhibition development, project management of all our site-specific work, and you will lead the redevelopment of our permanent History Gallery into a more dynamic, participatory, and flexible space. This is a highly collaborative role, and we are looking for the perfect blend of strong design skills with a generous enthusiasm for amateur and professional co-creation.

The 5 Best Social Impact Games of 2010

NTEN

2 Participatory Chinatown In this game, you're transported to Boston's Chinatown to view the development of new areas through the perspective of the varied citizens that make up their corner of the city. In the multi-player version, the power of online discussion blends into the gameplay and the virtual Chinatown becomes an interactive 3D town hall meeting - creating a collaborative environment that would not be possible at a traditional venue. #

Game 70

Using Social Bridging to Be "For Everyone" in a New Way

Museum 2.0

I don''t have the answer to how we can incorporate bridging across the various ways we work with intact and blended communities. When it comes to working with intact cultural and ethnic communities, one of the resources that is helping me think through these questions is a 2004 paper by Dr. Pia Moriarty on Immigrant Participatory Arts in Silicon Valley. Like a lot of organizations, my museum struggles with two conflicting goals: The museum should be for everyone in our community.

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Think Like a (Real Estate) Developer: Introducing Abbott Square, Part 9

Museum 2.0

The “we” isn’t always staff; in most cases, our staff work with community partners in a participatory, co-creative model. FLEXIBLE OPTIMISM + HARD CRITERIA Real estate developers blend optimism and flexibility with clear-eyed assessment of what external conditions make a project go. This is the ninth in a series of posts on the Santa Cruz Museum of Art & History ( MAH )'s development of Abbott Square , a new creative community plaza in downtown Santa Cruz.

Lead or Follow: Arts Administrators Hash it Out

Museum 2.0

If you care about how participatory art experiences can shape civic processes, read Bedoya's post. Last week, Douglas McLellan of artsJournal ran a multi-vocal forum on the relationship between arts organizations and audiences, asking: In this age of self expression and information overload, do our artists and arts organizations need to lead more or learn to follow their communities more?

Building Community Bridges: A "So What" Behind Social Participation

Museum 2.0

For a long time, I knew I cared deeply about designing from "me to we" --inviting visitors to form social connections through participatory experiences--but I couldn't express a clear reason why. We tailor the programming blend to diverse ages, making sure no activity is just for kids or adults, no matter how much glue or fire is involved. Last Friday, I witnessed something beautiful at my museum.

Wandering Down the "Don't Touch" Line

Museum 2.0

In the history gallery, we have some blended props and artifacts, and it's rarely clear what is and is not ok to touch. This is only going to become a bigger issue for us as we invite in new audiences and incorporate more participatory experiences throughout the museum. How do you help visitors know what they can and cannot do in your museum? Most museums have this figured out: they have signs, they have guards, they have cases over the objects.

Some Reflections About Civil Society 2.0 and Why I’m Not On A Plane To Tunisia Right Now

Beth Kanter

Amira Achouri, from an NGO in Tunisia, observed, “As the communications landscape gets denser, more complex, and more participatory, the networked population is gaining greater access to information, more opportunities to engage in public speech, and an enhanced ability to undertake collective action. I believe that social networking can do better by thinking about network structures, understanding roles of people, making organizations more sociable and blending social media.

Congratulations to our Clients! | Beaconfire Wire

Allegiance Group

s fine list of worthy causes that are pursuing interesting efforts that blend technology and community. It’s nice that there’s a participatory angle to all this, but there doesn’t seem to be a big payoff for winning so I’m not sure how many people will go to the trouble of creating a new web account to vote.

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Guest Post: Participation Rocks!

Museum 2.0

While this post is not about museums, it tells the story of how a performance group developed participatory elements as an integral part of their show. We see the stage as a safe place for taking some participatory risks—we handpick volunteers who come up to dance and compete, and their terror, fame, and hijinks only last a few minutes. Some of these participatory songs give us only 12 measures (not a lot of time!)

The Great Good Place Book Discussion Part 5: Oldenburg on the LAM

Museum 2.0

Nina's research keeps finding that the right kind of constraints work to produce a better participatory museum experience. There's a nice overlap to be found here blending the traits of Oldenburg’s third place with the mission of the institution. This is the fifth installment of a book discussion about Ray Oldenburg’s book The Great Good Place. Every Tuesday in June, this blog is featuring a guest post examining some aspect of the book.

Mixing Digital and Physical: The Holocaust Museum's Handwritten Pledge Wall

Museum 2.0

The USHMM pledge wall is notable for its blending of digital and analog technologies. The handwritten pledge is an intelligent starting point for creating merged digital/analog participatory experiences. On a recent trip to DC, an old friend showed me around a new exhibit at the US Holocaust Memorial Museum (USHMM), From Memory to Action: Meeting the Challenge of Genocide.