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Changing Museums — CODE | WORDS: Technology and Theory in the Museum. When I first began work in the museum world, back in the twentieth century, the doors that marked the boundary between the public galleries and private spaces of my first museum in London had small embossed signs on them that declared, “This door to be kept closed, by order of the Director.” In the years since then the boundary between public and private has shifted as technology has made it possible to share the research, objects, exhibition projects and ideas that were hidden behind the closed doors. But despite the potential for new models of museum, it seems to me that for most of our users the museum is still a set of public galleries that occasionally change, and the rest remains a mystery.

Why is it so hard to change how museums work? In the last twenty-five years we’ve seen the rhetoric of the “new museology”, the growth of audience research, and most significantly the disruption of all in its path by digital technologies. How we have talked about strategy Changing museum culture. Über das Sammeln in der Kulturwissenschaft | Universität Basel. Sammlungen von Alltagsobjekten früherer Zeiten und ferner Kulturen waren von unterschiedlichen Ansätzen geprägt – von der Neugier und der Identitätsstiftung über die Erforschung von Zusammenhängen bis zur Belehrung und Machtdemonstration.

Die kulturgeschichtlichen Sammlungen der Zukunft werden das Objekt stärker mit dem Menschen und seiner Gesellschaft verbinden. Die Wissenschaften, die sich seit der Aufklärung und Romantik mit dem Leben der einfachen Menschen beschäftigt haben – mit den Bauern und Landleuten hier, mit den Fremden und Exoten in fernen Ländern –, standen vor einem besonderen Problem. Diese Menschen produzierten in der Regel keine eigenen Texte, das eigentliche Kerngebiet der Geisteswissenschaften, die sich primär mit Philosophie und Religion, mit Sprache und Literatur beschäftigten.

Funktion, Symbol, Praxis Die Bewertung sowohl der eigenen Alltagskultur wie auch der Kultur fremder und exotischer Gruppen hat sich im Lauf der Zeit gewandelt. Art Museum Teaching Mashup – Cleveland. Do you want to try something fun while stepping outside of your comfort zone? Join us this summer for the first Northeast Ohio Museum Teaching Mash-up! Inspired by the NAEA Museum Teaching Mash-up (which you can read about here and here), this gallery teaching experiment offers the chance for Ohio museum educators, students, teachers, and community members to connect, interact with art, and learn from each other in a supportive group of colleagues.

WHEN: Monday, August 10th – 10am-3pm WHERE: Museum of Contemporary Art Cleveland, 11400 Euclid Avenue, Cleveland, OH 44106 WHO: Museum educators, students, teachers, community members, and all who are interested are welcome! This event is designed to bring together people from a variety of experiences. What should I expect? For this event, expect the unexpected! Why participate? Although we are geographically close, we rarely get the opportunity to observe each other and, better yet, work together in the galleries! How Can You Be Involved? Related. Wie das? Vom anonymen Museumsbesucher zur Partizipation - Teil 2 #KultDef. Neil MacGregor übernimmt Gründungsintendanz des Humboldtforums | Monopol – Magazin für Kunst und Leben. Der Rohbau ist praktisch fertig, doch für innen gibt es noch kein schlüssiges Gesamtkonzept. Der britische Museumsstar MacGregor soll dem Berliner Schloss jetzt Leben einhauchen Berlin/London (dpa) - Der renommierte britische Museumsexperte Neil MacGregor soll mit dem Humboldtforum in Berlin Deutschlands ehrgeizigstes Kulturprojekt voranbringen.

Kulturstaatsministerin Monika Grütters berief den 68-Jährigen am Mittwoch zum Leiter der Gründungsintendanz für das Kulturzentrum im rekonstruierten Stadtschloss. Seinen Posten als Direktor des British Museum will MacGregor Ende des Jahres niederlegen, wie er in London mitteilte. Neben der Beratungsarbeit in Berlin will er weiter für die BBC tätig bleiben und am Museum im indischen Mumbai mitwirken. "Auch wenn ich nicht mehr Vollzeit arbeite, werde ich in mehrere Projekte eingebunden bleiben", erklärte er. Grütters (CDU) nannte es ein Glück, dass sich der gebürtige Schotte für die Aufgabe in Berlin habe gewinnen lassen. Kultur und Wissensschätze Bayerns. Dear Arts: It’s Not Your Challenge Alone | Butts In the Seats. Last week Createquity published an analysis looking at why people in lower socioeconomic status (SES) don’t attend arts events.

Their research challenges the common assumption that price, lack of time and geographic proximity are the main factors in the decision not to attend, at least among this demographic. Unfortunately, the real impediment might be deeply instilled cultural behaviors that present a problem in areas beyond the arts. The piece, Why Don’t They Come? Is thought provoking and occasionally surprising. It has started a good deal of conversation both on the Createquity site, and also on economist Tyler Cowen’s Marginal Revolution blog where it dominates the discussion on a post of assorted links. I say that instilled cultural behavior is an potentially an impediment because overcoming it will take more than programming changes, lower prices/free events and taking events to different neighborhoods.

It turned out that food preferences dominated. Michelle Obama, “Activism”, and Museum Employment: Part I | the incluseum. Over the next few weeks, a handful of Incluseumers will reflect on and unify three topics that are usually treated as separate. At the end of each post, we’ll attach a worksheet with suggestions for how to work through some of the ideas we discuss. You can download and print these worksheets to initiate conversations with colleagues. For the first post in this series, Porchia, Aletheia, and I (Rose) respond to Michelle Obama’s speech for the reopening of the Whitney. Last week, Michelle Obama gave a speech for the reopening of the Whitney Art Museum in New York City.

In this speech, she remarked that museums tend to not do a good job affirming youth of color. She stated: You see, there are so many kids in this country who look at places like museums and concert halls and other cultural centers and they think to themselves, well, that’s not a place for me, for someone who looks like me, for someone who comes from my neighborhood. 1. 2. 3. Like this: Like Loading... Museum 2.0: How Do You Define "Community?" Close your eyes and imagine your organization's "community. " Is it a mist of good feeling? A fellowship of uncertainty? Does it have a human face? Communities are made of people, not rhetoric.

You can define a community by the shared attributes of the people in it, and/or by the strength of the connections among them. When an organization is identifying communities of interest, the shared attribute is the most useful definition of a community. The second is a quality of the community (strong vs. weak) as defined. I've been exploring three different lens for defining community: geography, identity, and affinity. A community by GEOGRAPHY is defined by place. A community by IDENTITY is defined by attributes.

A community by AFFINITY is defined by what we like. These types aren't perfectly distinct. How much does the strength of connections among members matter to the definition of community? Maybe you want to work with Hmong immigrants to Minnesota. How do you define "community" in your work? Group Tour Interest in Decline: Why Museums Should Invest Elsewhere (DATA) Investing in attracting tour groups is an increasingly futile endeavor for museums. Here’s the data and what to do instead. Many visitor-serving organizations increasingly bemoan the challenges associated with the leisure group tour market. (This being a different attendance category – and revenue line item – than school groups.) Typically, visitor-serving organizations have salespeople dedicated to the process of soliciting tour groups.

In other words, their job is to get group business. This business has been in decline – and the data suggests that it’s not because the salespeople suddenly got bad at their jobs. Your organization isn’t imagining things: It’s harder to attract leisure tour groups today than in the past. The Y-axis in the chart above indicates the mean scalar variable response so as to indicate the level of agreement with the statement on a 1-100 scale. In short: Museums often have full-time staff dedicated to managing a program that many folks don’t even want. Mass tourism forces mobbed museums to overhaul welcome. Paris (AFP) - Mass tourism spurred by cheap flights and richer emerging economies is forcing the world's top museums to rethink their welcome, notably by boosting access, embracing apps and improving ancillary services such as eateries and gift shops. The overhaul is dictated by the sheer numbers of visitors crowding galleries to catch a glimpse of the Mona Lisa, a Van Gogh canvas or a Michelangelo statue.

Nearly 10 million people a year pass through the Louvre, seven million visit the British Museum, and six million go to the Met in New York. "The Louvre was conceived for five million people. For the past three years straight we've had more than nine million," noted the president of the vast Paris museum, Jean-Luc Martinez. He has launched a "Pyramid Project" for the Louvre that aims by mid-2016 to improve entry through redesigned ticket offices, lines and cloakrooms. "If the visitors aren't taken care of, how can you expect their experience seeing the works of art to pass off well?

" Practical actions for museums | Museums Association. 1. Make a clear commitment to improve your museum’s social impact Regard it as core business. Museums already make decisions in terms of decades about their collections and buildings; have long-term strategic goals for your impact, too. 2. Listen to users and non-users. 3. 4. For most museums these are likely to be local charities, social enterprises or public-sector organisations dedicated to having a beneficial social impact. 5. Be clear about your shared objectives. 6. You might need work with your partners to fundraise, but some things can start small from existing resources. 7. Ensure that you can meet the needs of your partners and of the people you aim to reach. 8.

Learn from and with partners and participants. 9. Encourage wider participation in all aspects of your work: bring more voices into interpretation and devolve power. 10. DIY Leadership Development. Two steps nonprofits can take to develop up-and-coming leaders day-to-day. Part of the Talent Matters series. Talent Matters Talent Matters is a blog series exploring how nonprofit leaders have achieved real-world results through an emphasis on talent.

Call it the “guilt list.” Most of us carry around in our heads a litany of things we know we ought to do but somehow never get around to doing. That’s often the case when it comes to investing in the future—including, for many nonprofits, developing the next generation of leaders. Many leaders we have worked with recognize the value of leadership development yet confess that it is haphazard and inconsistent at their organization, if indeed it happens at all. Why the disconnect? However, there are two simple practices that can put any organization on track to integrating leadership development into the day-to-day. 1. One of the most powerful concepts within leadership development is the 70-20-10 model. 2. See more from Talent Matters. More on the Wacky World of Museum Economics. “Food should be more expensive.” That’s a core message of the locavore/sustainable food movement, and it doesn’t resonate so well with most folks.

It sounds ridiculous on the face of it—who wants to pay more for food? But proponents of creating a “slow,” sustainable system of food production have a point. “Fast” food is cheap because we pass a lot of the cost on to society as a whole and future generations in particular. Same with fast fashion. The fact is, anything that looks like too good a bargain probably is hiding the true cost somewhere, present or future. Benefits can be externalized, too. Economists see externalities—both costs and benefits—as signs of an inefficient market.

Museums would do well to consider the externalized costs and benefits hidden in our nonprofit economic calculations, and how they affect the “supply chain” of museum services. As publicly supported nonprofits, museums do have externalized costs that some people have not (personally) agreed to pay. The museum as digital storyteller: Collaborative participatory creation of interactive digital experiences | MW2015: Museums and the Web 2015. Maria Roussou, American College of Greece / University of Athens / makebelieve design & consulting, Greece, Laia Pujol, Pompeu Fabra University, Spain, Akrivi Katifori, University of Athens, Department of Informatics and Telecommunications, Greece, Angeliki Chrysanthi, University of Southampton, UK, Sara Perry, University of York, UK, Maria Vayanou, National and Kapodistrian University of Athens, Greece Abstract Digital storytelling is one resource museums have in hand for enriching their offer to audiences and society at large.

But how is the museum to author digital storytelling experiences that cater to various needs while maintaining scientific integrity? In this paper, we report on a series of experiences involving the creation of several interactive rich-media museum stories. Keywords: Digital storytelling, museum narratives, participatory design, authoring, mobile guides. 1. The present paper explores different aspects of interactive digital storytelling by museums. 2. 3. 4. 5. The Final Pieces Of The 9/11 Memorial Museum: Visitors, Their Stories, And Rooms That Listen. Like all museums, the 9/11 Memorial Museum will tell visitors a story. Unlike most places, however, rooms in this building will also listen to memories. Jake Barton, principal and founder of media-design firm Local Projects, is wrapping up an eight-year project as the exhibit designer for the 9/11 Memorial Museum, opening to the public next week.

Inside, visitors will be able to view and interact with 90 different exhibits that incorporate first-person experiences, oral histories, artifacts, and interactive pieces. They'll also be able to add their own stories to some of the exhibits. A recording booth let's anyone go in and record their own remembrances or reflections on 9/11.

An interactive guestbook lets visitors sign a digital map that is projected all day at the museum. "Because 9/11 is such recent history, it's really not history yet," says Barton. Barton's goal was to create opportunities to hear back from people who felt connected to the events, no matter where they were that day. Most museum websites are terrible - Museum Marketing. What is the main aim of a museum website? Browsing the internet, you quickly conclude that this is to promote the institution to potential visitors. This is of course a worthwhile aim, museums would not exist without an audience, but I believe that museum websites can be much more. The starting point for all digital activities within a museum should be it’s mission, this is likely to be to educate, to inspire, to preserve and to share (or similar).

Visitor figures have a role in a museum, but these should be a way to measure how many people we are reaching, not the reason that the institution exists. The solution I believe is for museum websites to become hubs for ideas, publishing platforms which allow institutions to pursue their missions by sharing knowledge and inspiration with the public.

Walker Art Center recently did this, becoming a digital hub for not just contemporary art which is hanging in their institution, but for contemporary art as a whole. Old attitudes. Inspiring Examples of Citizen Participation. All Our Suggestions. 20 Key Museum Concepts | EVE. Museums: The Permanent Collection Concept | EVE.