Museum 2.0

MAY 3, 2010

Last week, I attended Structure Lab , a half-day workshop on legal and financial structures for ventures for social good. Like many people in the arts, I'm interested in new models that help people combine mission-driven work with an entrepreneurial spirit.

Structure 31

Structure Model Social Profit 31

Museum 2.0

MARCH 9, 2009

I once asked Eric Siegel, the Director of the New York Hall of Science, why museums are rarely innovative shining stars on the cutting edge of culture. He commented that as non-profits, museums are built to survive, not to succeed. Unlike startups and rock stars, museums aren't structured to shoot for the moon and burn up trying.

Model 55

Model Business Los Angeles Museum 55

Museum 2.0

OCTOBER 1, 2014

Recently, we''ve been talking at our museum about techniques for capturing compelling audio/video content with visitors. It made me dig up this 2011 interview with Tina Olsen (then at the Portland Art Museum) about their extraordinary Object Stories project. We ended up with a gallery in the museum instead. That is more curated.

Museum 43

Museum Story Project Design 43

Museum 2.0

AUGUST 18, 2011

Many people ( Paul Orselli , Linda Norris , Pete Newcurator ) in the museum field have written about the question of museum "tribes"--based partly on Seth Godin's book , partly on the longstanding fan culture that pervades our lives through sport , celebrity, and shared experience of mass events. There are staff in plush costumes.

Museum 45

Museum Share Support Indianapolis 45

Forum One

FEBRUARY 7, 2023

GA4 is designed to be far less reliant on cookies, using AI and data modeling to help fill the gaps in data caused by privacy restrictions. The biggest change in GA4 is the shift from a model based on sessions and pageviews to a model based on events. What are the differences between UA and GA4?

FAQ 58

FAQ Organization Analytics Google 58

Beth's Blog: How Nonprofits Can Use Social Media

DECEMBER 1, 2010

Trying to do everything, a scarcity model, is such an exhausting way to work. Marnie Webb has been thinking about how the nonprofit sector might be different if organizations believed in abundance and re-thought their organizational structures and how they delivered programs as a result.

Artist 96

Artist Structure Museum Nonprofit 96

Museum 2.0

SEPTEMBER 3, 2019

We whip out our logic model. But we also know that it hasn’t made an appreciable impact on the people coming to museums. I loved how she brought up so many issues, often combining structural issues with the related effects. Rebecca also mentioned another issue about our museums and how we entice people. A grant comes in.

Accessibility 32

Accessibility Museum Australia Voice 32

Beth's Blog: How Nonprofits Can Use Social Media

APRIL 1, 2013

It takes you through the technologies and tools for each channel for different goals and offers up lots of case studies from organizations such as National Wildlife Federation, Red Cross, AARP, Clinton Bush Haiti Fund, American Museum of Natural History, SEIU and others. Click to see larger version. Sometimes easier said than done!).

Campaign 97

Campaign Online Chapter Model 97

Get Fully Funded

JANUARY 4, 2023

For example, a CRM designed specifically for museums might emphasize their ticketing features, whereas a CRM for general nonprofits might have some registration tools but lack a built-in ticketing component. Some CRM providers have free or low-cost plans available for small nonprofits, but most CRMs will have a recurring cost structure.

Organization 64

Organization Consultant Application Integration 64

Beth's Blog: How Nonprofits Can Use Social Media

JANUARY 6, 2014

I will start with an overview of the ” Crawl, Walk, Run, and Fly: Maturity of Practice Model ” for networked nonprofits. In the book, we share a couple of case studies and examples of engagement models. Social media is an important channel for both these groups. In the for-profit world, it is called the sales funnel.

Social Media 108

Social Media Network Media Free 108

Museum 2.0

MAY 13, 2008

I once asked Elaine Gurian how museums can change. Here's the problem with both of these ways: they require circumstances that are outside of most museum employees' control. Where's the opportunity for risk in museums that are too big to avoid the media microscope? There's more attention these days on the "from the top" model.

Museum 31

Museum Place Model Project 31

Museum 2.0

OCTOBER 3, 2011

I'm working on a keynote address for next week's Mid-Atlantic Association of Museums conference in Baltimore. The speech is in memory of Stephen Weil, one of the giants of contemporary American museum thinking--a radical in a bowtie who strove to "make museums matter." What are the most important problems in the cultural sector?

Problem 53

Problem Museum Baltimore Culture 53

Museum 2.0

APRIL 11, 2017

This is the sixth 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. John would run Abbott Square Market , a multi-vendor food and drink business, adjacent to the plaza, adjacent to the museum. Money is on the table.

Technique 29

Technique Museum Exercise Structure 29

Museum 2.0

MAY 31, 2011

Last week, at the annual meeting of the American Association of Museums in Houston, I was honored to chair a fabulous panel on empowering museum staff to take creative risks ( slides here ). Beck beautifully described her entry into museum work. What kind of support do you need to be confident about taking a risk in your work?

Denver 55

Denver Museum Oakland PowerPoint 55

Museum 2.0

APRIL 1, 2009

On Monday, I gave the keynote at the Museums in Conversation conference in Tarrytown, NY. I learned to cultivate creative greed while working on Operation Spy at the International Spy Museum, where I was lucky to be working on a project that was so new to us that we didn't have any pre-established models or structures for doing it.

Museum 20

Museum Conversation Columbus Local 20

Museum 2.0

AUGUST 4, 2015

If people on the street are talking about X, the museum should be talking about X too. Now" is not an easy business model to chase--especially for institutions rooted in permanence. I used to work at The Tech Museum of Innovation in San Jose, CA. Or museums that extend their hours to match working people's schedules.

Content 20

Content San Jose Museum Miami 20

Museum 2.0

JUNE 1, 2010

You can join the conversation in the blog comments, or on the Museum 2.0 Like many museum and library professionals, I am enamored of the idea of cultural institutions as “third places” – public venues for informal, peaceable, social engagement outside of home or work. This is the only post written by me, Nina Simon.

Place 41

Place Discussion Culture Museum 41

Museum 2.0

APRIL 2, 2014

In his thoughtful preface to this project, I reconnected with five lessons I''ve learned from participatory projects in museums and cultural sites. The fact that there is no original recording by Beck of the Song Reader songs, no model upon which "covers" would be based, frees the reader to imagine the songs in any number of ways.

Participatory 52

Participatory Arts Music Learning 52

Museum 2.0

SEPTEMBER 22, 2009

In this report, the authors describe three specific models for public participation: contribution, collaboration, and co-creation. In the collaborative model, visitors are invited to serve as active partners in the creation of an institutional project which is originated and ultimately controlled by the institution.

Public 36

Public Research Participatory Report 36

Nonprofits Source

JANUARY 23, 2023

Ad creation and keyword research: A Google Grants manager will structure your account properly and create ad campaigns that target valuable keywords. Account management and reporting: A properly-structured Google Grant account will run 3-5 campaigns at once to drive conversions. You’ll be up and running in no time!

Grant 52

Grant Google Management Guide 52

Museum 2.0

MAY 3, 2011

Lots of museums these days have video comment booths to invite visitors to tell their stories, but how many of those booths really deliver high-impact content? Last week, I talked with Tina Olsen, Director of Education and Public Programs at the Portland Art Museum, about their extraordinary Object Stories project.

Story 53

Story Interview Museum Audio 53

Museum 2.0

NOVEMBER 4, 2015

Ravon Ruffin and Amanda Figuero - Claiming Space for Brown Women in the Digital Museum Landscape Based in Washington DC, Brown Girls Museum Blog is a new-ish site led by graduate students Ravon Ruffin and Amanda Figueroa. The Museum of Impact is a pop-up project of short-term exhibitions on urgent topics of social justice.

Culture 20

Culture Work Museum New York City 20

Museum 2.0

JUNE 22, 2009

My goals are two-fold: to develop a dynamic, creative, social platform for my community and to distribute its successful elements to other civic learning institutions (museums, libraries, community centers). My model is the shining star. My model is the shining star. Louis were quick to add, 'It's not a museum.'

Action 31

Action Ideas St. Louis Museum 31

Beneblog: Technology Meets Society

JUNE 5, 2010

We have a model for this kind of change: TTYs (text telephones) and relay services though the telephone. The bigger question is about how to structure the second phase. It’s not clear that money awards would be an important driver of this Phase: the gift of attention to the issue would be the main payoff.

Accessibility 100

Accessibility Award Proposal Phase 100

Beth's Blog: How Nonprofits Can Use Social Media

AUGUST 12, 2009

About three months ago Beth Kanter wrote about the Crowdsourcing of Vision at the Smithsonian Museum. Their mental models began with these fundamental assumptions during their education and their first jobs. Their mental models began with these fundamental assumptions during their education and their first jobs.

Aggregator 82

Aggregator Model Leadership Method 82

Museum 2.0

APRIL 23, 2009

Like many people who've worked in science centers and interactive experience museums, I've always been perplexed by the fact that hands-on workshop audiences top out around age 14. They are more than just workshop spaces--they are member institutions, like museums. Isn't this one of our dreams for museums?

Museum 24

Museum North Carolina San Francisco Structure 24

Museum 2.0

OCTOBER 29, 2009

Last week, Jim Richardson and I hosted MuseumNext , a 24-hour workshop for museum professionals focused on bringing new, wild museum projects into the world. We also ended the entire event with one of my favorite exercises, the Exquisite Corpse game, in which participants co-created comics of their craziest museum dreams.

Facilitation 32

Facilitation Reflection Museum Participatory 32

Museum 2.0

APRIL 7, 2009

Which of these descriptions exemplifies participatory museum practice? Museum invites community members to participate in the development and creation of an exhibit. 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.

Participatory 27

Participatory Design Difference Museum 27

Museum 2.0

AUGUST 11, 2010

Dear Museum 2.0 People Watching Portraits – customers can choose to either be drawers or models (models will wear a button or badge on the bracelet to indicate interest). They may ask models directly to pose for the in more structured encounters. readers, I need your help.

Project 35

Project Help Badge Model 35

Museum 2.0

JANUARY 24, 2011

This post features an interview with Sarah Schultz, a museum staffer at one of the institutions Light profiled in the book (the Walker Art Center). It's easier to secure grants for community-based programming or exhibitions, but it's not easy to get funding for some of the core work that museums do.

Arts 46

Arts Interview Teen Artist 46

Museum 2.0

DECEMBER 5, 2006

Seb Chan of fresh + new, the blog from the Powerhouse Museum in Australia, ran with this idea to comment on the impact of disaggregation on the way that visitors use museum collections available on the web. I'd like to approach this concept from a physical, in-museum perspective.

Aggregator 20

Aggregator Museum Structure Music 20

Greater Giving

APRIL 22, 2021

For many, that involves a combination of income sources that, together, make up their funding model. A funding model is defined as the methodical and institutionalized approach to bring in revenue to support an organization’s core programs and initiatives.

Donation 119

Donation Grant Foundation Model 119

Nonprofit Tech for Good

DECEMBER 14, 2022

For example, if you join a modern art museum, there is a good chance you won’t have to pay admission to other modern art museums. Family Lifetime memberships – When a donor joins an organization like the YMCA or a museum, can you extend the membership to the entire household. This can include museums, archives, galleries, etc.

Donor 340

Donor Sponsor Accessibility Music 340

Museum 2.0

MAY 16, 2007

into the museum is the potential to encourage more positive in-museum interactions among strangers. I want in-person museum experiences to be more like experiences on social sites like Flickr, where strangers connect and form relationships around content. Structure the space with a clear story (and commensurate rules).

Museum 20

Museum Myspace Facilitation Social Network 20

Museum 2.0

JUNE 5, 2009

I've been designing game-like experiences with museums for a long time. I've always believed in prototyping at the simplest level possible, but when it comes to group dynamics we often argue that without a full-size model or the actual space, it's hard to see how people will really interrelate. It had a very simple structure.

Game 21

Game Design Museum Interaction 21

Museum 2.0

NOVEMBER 13, 2007

The essays in this section, on “Expressing and Co-Creating,” present projects in which visitors create exhibition content, contribute to its creation, or get a heavy done of meaning-making in their experience of museum content. Who controls the content in the museum? Who controls the museum experience? First, museum content.

Voice 20

Voice Create Museum Arts 20

Museum 2.0

OCTOBER 21, 2007

Some staff are wearying of the messiness, noise, and lack of structure in their new face. No one would contest the idea that most museum exhibitions, art shows, films, books, in short, most content experiences, have value both for the new and return user. Why would someone want to contribute metadata to the museum experience?

Experiment 20

Experiment Create Museum Amazon 20