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If museums are to remain relevant, vital, and meaningful, then they must adapt to a changing society, which means not only recognizing and incorporating new digital tools for communication, but more importantly, recognizing the changing needs and aspirations of society as reflected in their communities of physical and virtual visitors.” (225). Susana Smith Bautista
app ASK del Brooklyn Museum che, prendendo come modello le piattaforme di instant-messaging più famose, ha introdotto la possibilità di ricevere informazioni in real-time sulle opere presenti nel museo direttamente mandando un messaggio o una foto.
How We Plan a Museum Mashup The impetus behind this is simple: empowerment and ownership. People on Twitter (encouragingly using#MuseumEdMashUp tag) reached out to me asking if they could do a Mashup and/or I or someone from my organization could come out and lead one at their museum. People here were asking if they could come since they weren’t an educator and others asked if they could invite non-art educators. My answer is and always will be yes. Yes, invite non-art educators. Yes, come even if you are scared. Yes, do one anywhere and everywhere. Yes.
Found a group of people. As some of you may know, I just moved from NYC to Winston Salem, NC. I knew a handful of people, museum people mostly, through traveling and my partner. After chatting with Debbie Randolph of the Southeastern Center for Contemporary Art, who was part of the NOLA NAEA Mashup at the Ogden, I emailed a group of people I knew in the Triad museum world and told them about the idea. I asked them to ask people they knew, and we had a group. Found a place and date. Lucky for us, Debbie had done the Mashup in NOLA and knew how successful it could be. She offered to host the first at SECCA. As a group, we did a Doodle poll and found a date and time frame that worked for the majority. Promoted away! Yep, promotions before logistics. Since the basic idea was experimentation, and because I had done a Mashup before, I wrote a quick blurb and put up a Facebook Event. The Engaging Educator wrote a press release and shared it with SECCA’s Marketing Director, who shared it with their press contacts. Just did it. Logistics were a big part, and the part that always stresses me out. I broke it down into a few key areas when planning for this Mashup: The Schedule: Mashups are fast. There was 15 minutes alloted for greetings, groupings and a quick warm-up, about 35-45 minutes for the participants to create a 5-7 minute experience, and then the time for the experiences. That last time frame is flexible, based on the number of participants. The Works: Since the exhibition at SECCA, Point & Counterpoint has 18 artists on display, it was natural to use them all, since we didn’t know exactly how many people would be attending. Alex Brown from SECCA printed out cards with the artist names, and the groups would randomly choose which artist they would be working with. Some artists had multiple works, but ultimately it was up to the group to decide what they wanted to create. The Groups: As people walked in, they signed in. Taking the total number and dividing by three people per group, people were assigned into six groups in the good old fashioned method of ‘1, 2, 3, 4, 5, 6…1, 2, 3, 4, 5, 6…ok all the 1’s over here, the 2’s over there.’ I ended up doing this in a notebook and just calling out each group, but that elementary school grouping happened in a tiny moleskin. Facilitation: The facilitator is crucial, but the lack of facilitator voice is even more important – it isn’t their show. Debbie introduced SECCA and the exhibition, and I explained the Mashup goals – random groups would randomly be assigned a work, they would have a finite amount of time to create an experience with the work. This experience would have to be experimental – that is, no VTS, inquiry, traditional teaching styles, and ideally something that could fail. Aside from instructions, the facilitator needs to push the event along, but not comment. While I did lead the group in an improv warmup (everyone felt scared! I feel energies too often in rooms, so I had to fix it!), I timed groups, cut them off when they went over time, and turned the attention over to the next group. On a personal note, I leave things vague and don’t like to give the group ideas, suggestions, props – I want them to define experience themselves, the interpretation to come organically and the experience to be group driven, not agenda driven. Yes, I would love to see everyone do crazy out there experiences – but risk to me is very different than risk to others. Lunch: Lunch was provided for the participants. This is optional, clearly, and our next one (YES, we have another planned!) will happen after lunch. I’m a fan of giving people some kind of treat after positive-risk taking. Reflection: They came, they created, they presented, they ate, and they reflected. Below, you can read the reflections of several participants – I left it optional to submit a written reflection, but post-lunch we chatted about a few key things. I asked the group to think about how they felt before, during and after the Mashup, what successes and failures they saw and had, and what can they do today, tomorrow or eventually with what they saw today. Those questions were also posed to the group for the written response.
Audience engagement, online e offline la creatività ci aiuta a stimolare la partecipazione dei visitatori
online e offline la
creatività ci aiuta a
WELCOME TO DIGITAL ERA
"Crediamo che il mondo digitale offra incredibili
opportunità alle istituzioni che lavorano con i
beni culturali, la cultura e le arti per creare un
legame con i pubblici e realizzare la propria
mission. Sì, ci sono sfide serie, ma un'istituzione
che strategicamente abbraccia la rivoluzione
digitale, andrà meglio. Il mondo è cambiato ed
è il momento di cambiare con esso."
Jasper Visser & Jim Richardson
Crediamo che internet ed i social media siano una
grande opportunità per la comunicazione
culturale, un modo per coinvolgere nuovi soggetti,
abbattere ogni tipo di barriere, e favorire
ulteriormente la creazione, la condivisione, la
diffusione e valorizzazione del nostro patrimonio
Crediamo in nuove esperienze di visita dei
siti culturali, non più passive, ma attive,
dove la conoscenza non viene solo
trasmessa ma anche costruita, dove il
visitatore è coinvolto ed è in grado di
produrre egli stesso forme d’arte.
Reach Interest Involve Activate
Digital Engagement Process
Individua il tuo audience
e prova a raggiungerlo
selezionando i canali
Offri loro dei contenuti di
valore capaci di generare
Invita loro a
l’azione e metti in
Rendi attiva la loro
DEP jasper Visser