Patrick's College, Silverstreamhe went on to study history at Victoria University of Wellington before working as a journalist at the Waikato Times newspaper in Hamilton in
The videos fall into two categories: Person stares at camera and mumbles something incomprehensible.
This is not the participatory museum experience of my dreams. I blame the design. How can cultural institutions use participatory techniques not just to give visitors a voice, but to develop experiences that are more valuable and compelling for everyone? Whether the goal is to promote dialogue or creative expression, shared learning or co-creative work, the design process starts with a simple question: Designers have answered versions of this question for many kinds of visitor experiences and goals in cultural institutions.
Professionals know how to write labels for different audiences. They know what kinds of physical interactions promote competitive play and which promote contemplative exploration. And while they may not always get it right, they are guided by the expectation that design decisions can help them successfully achieve content and experience goals.
When it comes to developing participatory experiences in which visitors create, share, and connect with each other around content the same design thinking applies. The chief difference between traditional and participatory design techniques is the way that information flows between institutions and users.
In traditional exhibits and programs, the institution provides content for visitors to consume. Designers focus on making the content consistent and high quality, so that every visitor, regardless of her background or interests, receives a reliably good experience.
Drawing by Jennifer Rae Atkins In contrast, in participatory projects, the institution supports multi-directional content experiences.
This means the institution cannot guarantee the consistency of visitor experiences. Instead, the institution provides opportunities for diverse visitor co-produced experiences.
Drawing by Jennifer Rae Atkins This may sound messy.
It may sound tremendously exciting. The key is to harness the mess in support of the excitement. Being successful with a participatory model means finding ways to design participatory platforms so the content that amateurs create and share is communicated and displayed attractively.
This is a fundamental shift; in addition to producing consistent content, participatory institutions must also design opportunities for visitors to share their own content in meaningful and appealing ways. Participatory projects make relationships among staff members, visitors, community participants, and stakeholders more fluid and equitable.
They open up new ways for diverse people to express themselves and engage with institutional practice.
Making Participation Physical and Scalable Most institutions prefer to experiment with participation behind closed doors. Cultural institutions have a long history of prototyping new projects with focus groups. Some museums co-develop exhibitions with community members, whether to represent the unique experience of certain ethnic groups or to showcase works of amateur art.
These participatory design processes are often institutionally defined, time-limited, and involve a small number of participants. The growth of social Web technologies in the mids transformed participation from something limited and infrequent to something possible anytime, for anyone, anywhere.
But as time has gone on, more and more content providers have opened up their material and have invited people to create, share, and connect around it. Particularly for cultural institutions with a mandate to use their collections for public good, digitization and accessibility of content has become a top priority.
But participating with visitors on the Web is just a start. There are also incredible opportunities for cultural institutions to distinguish themselves by encouraging participation in the physical environments of museums, libraries, and arts centers.Michael King OBE (15 December – 30 March ) was a New Zealand popular historian, author, and biographer.
He wrote or edited over 30 books on New Zealand topics, including the best-selling Penguin History of New Zealand, which was the most popular New Zealand book of HOTOKE TE KOMAKO WHÄRANGI 3 The uniquely female art of karanga Sonia Hibbs Ko Maua Toku maunga tapu Ko Ngati Ranginui raua ko Ngaiterangi oku iwi.
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