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Guest Post by Nina Simon -- Self-Expression is Overrated: Better Constraints Make Better Participatory Experiences

Beth's Blog: How Nonprofits Can Use Social Media

When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. Museums see open-ended self-expression as the be-all of participatory experiences. Why aren’t more museums designing highly constrained participatory platforms in which visitors contribute to collaborative projects?

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The Participatory Museum, Five Years Later

Museum 2.0

This week marks five years since the book The Participatory Museum was first released. I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. Since 2010 I have seen, again and again and again, how valuable human facilitation is to the participatory process.

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Self-Expression is Overrated: Better Constraints Make Better Participatory Experiences

Museum 2.0

When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. Museums see open-ended self-expression as the be-all of participatory experiences. Why aren’t more museums designing highly constrained participatory platforms in which visitors contribute to collaborative projects?

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Participatory Design Vs. Design for Participation: Exploring the Difference

Museum 2.0

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.

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How I Got Here

Museum 2.0

At the big one, I worked on a small project with teens to design science exhibits for community centers in their own neighborhoods. I promised to commit to stay through the opening if she'd let me take on this role, and I suggested that she could keep me at my (low) salary instead of hiring an expensive project coordinator.

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

Museum 2.0

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.

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Come Work With Us at MAH as School Programs Coordinator

Museum 2.0

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. How should we think about the role of onsite museum experiences in future educational partnerships?

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