Open and Participatory Museums
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Open and Participatory Museums

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Presented in the University of Lapland, October 2013. Seminar on exhibition design.

Presented in the University of Lapland, October 2013. Seminar on exhibition design.

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  • Hice este mapita para que ubiquen la investigación que les voy a mostrar. Soy diseñadora de interacción y ese es el marco de acción de lo que hago, por eso el cuadrado grande, que contiene todo lo otro. Dentro del diseño de interacción le doy prioridad y creo fervientemente en el diseño centrado en el usuario. Específicamente uso metodologías del diseño participativo y medios sociales. Esas son en este momento mis herramientas más fuertes. En esta presentación les voy a explicar porque y dar algunos ejemplos de casos que a mi me parecen interesante, justamente porque son inclusivos de alguna manera. Usando estas herramientas mi investigación se centró durante muchos años en los museos de arte, y en las maneras de abrir el museo a nueva maneras de interpretar las obras de arte. <br />
  • It was an interactive guest book, with open ended comments. We have used, ImaNote, which is open source software developed in Systems of Representation Research Group, here in Media lab. <br />
  • Here you could see some of the evocative messages left in the museum. <br />
  • I am… and I am going to present my research with the working title of Designing towards Museum Community Engagement in Exhibitions <br />
  • We organized workshops with children and teenagers in which we invite them to improvise inspired in the objects in the exhibition. These pieces of music, poems and videos served as triggers for visitors’ comments in the exhibition. They look like this in the map. <br />
  • From the stand in the museum visitors could leave their own comment, or else from home. Comments then were on-line and on-site, in the gallery, because we printed them and stick to the walls. <br />
  • From the stand in the museum visitors could leave their own comment, or else from home. Comments then were on-line and on-site, in the gallery, because we printed them and stick to the walls. <br />
  • From the stand in the museum visitors could leave their own comment, or else from home. Comments then were on-line and on-site, in the gallery, because we printed them and stick to the walls. <br />
  • Community-created content (CCC) could serve to make the exhibition material more accessible to new audiences. Comments made by a visitor and comments made by a museum professional, complement each other. On the one hand, the material created by the visitor differs in tone because it offers a creative and personal perspective. The visitor was likely to refer to emotions and to the experience of using a certain object. <br /> Community Created Content could support the learning that takes place in the exhibition by engaging people actively. I consider this comment a clear example of reflection done in the writing, because of the difficulty of describing the performance of an object, summarising it in a short comment, and communicating with others who have not had the experience of __using __it. <br />
  • This content once displayed, could validate multiple perspectives and generate discussion on the exhibited material. The contrasting emotional responses to the objects in the exhibition (in this case, the lamp) allows the museum to show that there is more than one possible interpretation of the same object and that the collection can be a source of artistic inspiration. <br />
  • Community Created Content could open possibilities for dialogue and exchange within the museum community. <br /> Allowing other members of the staff who do not normally create intérpretive material for the exhibitions to become meaning-makers it is also a way to reinforce the multiplicity of perspectives. Similarly, this material might be one way to become more familiar with the interests and expertise of the museum staff. <br />
  • Community Created Content could bring in complementary documentation and intérpretive material on the artefacts in the exhibition. The content collected during the exhibition could provide material for researchers working in fields related to the exhibition’s topic. <br /> Ideally, work with these researchers would start at the very beginning, and might even involve planning the exhibition together. Researchers can provide cues to guide community-created content towards her interests in that way, widening perspectives. <br />
  • We organized workshops with children and teenagers in which we invite them to improvise inspired in the objects in the exhibition. These pieces of music, poems and videos served as triggers for visitors’ comments in the exhibition. They look like this in the map. <br />
  • Pero algunos museos, van más allá de eso. Y en su página web muestran otros datos que trasparentan su accionar. Por ejemplo el Museo de Arte de Indianápolis muestra detalles de sus adquisiciones, la cantidad de estudiantes que pasaron por su puerta, e incluso la cantidad de luz que gastan. Es una manera de relacionarse con la comunidad, y mostrarle a la gente donde van los fondos que reciben. <br />
  • Pero algunos fueron un paso más allá, no solo ofreciendo servicios a ancianos o jóvenes, sino también incluyéndolos como colaboradores. Esta galería en Londres lo que hizo es invitar a algunos participantes de “los amigos del museo” a colaborar con su blog. Tienen un blod de los mas activo, hecho por varias personas de la tercera edad, que pertenecen al grupo de amigos del museo. Incluso alguno de ellos fueron periodistas o amantes del arte y son expertos en estos temas. El museo los convoca para redactar el blog, y con eso consiguen que participen y se comprometan con las actividades del museo. <br />
  • Otra cosa que los museos están haciendo es llevando sus colecciones a los lugares donde está la gente. Se dieron cuenta que la gente guarda y comparte sus fotos usando estos servicios como Flickr, o Picassa. Bueno, entonces ellos también publican sus fotos allí. <br />
  • En esta misma linea se encuentra el Twitter de el museo de historia natural de la ciudad de Nueva York. Ellos decidieron que para contar lo que pasa día a día lo iban a hacer a través de su ballena. Tienen un modelo de ballena enorme en la entrada y es la ballena la que Twitea. Ella te cuenta lo que está viendo, cuanta gente entra, quien y todo lo que pasa. <br />
  • Esto fue un evento de un día donde la gente podía preguntar a diferentes curadores de los más grandes museos lo que quieran. Y la gente, anonimamente se anima más. <br />
  • El Brooklyn Museum hizo una competencia de video donde insentivó a los visitantes a usar cámaras de video dentro de la exposición y hacer videos cortos. Los videos son una risa. Este cuenta como dos visitantes se roban una obra de arte. Y es una de los pocos museos que deja tomar fotos y hacer videos dentro de sus puertas. Entonces con este recurso explotado motivan a la gente a generar contenido para el museo. <br />
  • Antes hablamos de incentivar el debate entre los visitantes al museo. Esta vez, esta plataforma está puesta al servicio del debate entre los trabajadores del museo. Acá se discute como será el museo del futuro. <br />
  • Otros museos, también usando Second Life fueron un poco más allá y ofrecen a los visitantes la posibilidad de ser un curador de una exposición. El museo solo hace de facilitador y provee las herramientas para que la gente trabaje, haga la exhibición y diseñe. <br />
  • Open GLAM on kansainvälinen verkosto, joka koostuu avoimien sisältöjen ja tiedon kanssa työskentelevistä toimijoista. Meidän toimijoiden tavoitteena on tehdä yhteistyötä GLAM-organisaatioiden kanssa (Galleries, Libraries, Archives ja Museums) ja avata kulttuuri- ja muistiorganisaatioiden sisältöjä ja dataa eri yleisöille. Avoin GLAM on osa tätä verkostoa ja toimii Suomessa. Hanke järjestää mm. työpajoja ja seminaareja, sekä jakaa tietoa ja kokemuksia avoimesta kulttuurista ja taiteesta. Tavoitteenamme on kartoittaa yhdessä suomalaisten kulttuuriperintöorganisaatioiden kanssa mitä mahdollisuuksia ja haasteita sisältöjen avaamisessa ja jakamisessa on, sekä keinoja joilla voidaan edistää sisältöjen laillista ja luovaa uudelleen käyttöä. <br />
  • Open GLAM on kansainvälinen verkosto, joka koostuu avoimien sisältöjen ja tiedon kanssa työskentelevistä toimijoista. Meidän toimijoiden tavoitteena on tehdä yhteistyötä GLAM-organisaatioiden kanssa (Galleries, Libraries, Archives ja Museums) ja avata kulttuuri- ja muistiorganisaatioiden sisältöjä ja dataa eri yleisöille. Avoin GLAM on osa tätä verkostoa ja toimii Suomessa. Hanke järjestää mm. työpajoja ja seminaareja, sekä jakaa tietoa ja kokemuksia avoimesta kulttuurista ja taiteesta. Tavoitteenamme on kartoittaa yhdessä suomalaisten kulttuuriperintöorganisaatioiden kanssa mitä mahdollisuuksia ja haasteita sisältöjen avaamisessa ja jakamisessa on, sekä keinoja joilla voidaan edistää sisältöjen laillista ja luovaa uudelleen käyttöä. <br />
  • Vuonna 2004 Britanniassa perustettu Open Knowledge Foundation on voittoa tavoittelematon järjestö, joka edistää sisältöjen ja tiedon avoimuutta. Järjestö on julkaissut Avointen tietovarantojen määritelmät (http://opendefinition.org/ ) ja johtaa useita projekteja, kuten CKAN ja Where Does My Money Go. Teknisten työvälineiden lisäksi järjestö tarjoaa laki- ja lisensointineuvontaa avoimiin sisältöihin liittyvissä kysymyksissä. Tällä hetkellä järjestössä on käynnissä nopea kansainvälistymisvaihe ja paikallistason toimintaa on yhteensä 24 maassa. <br />
  • The Walters Art Museum connected with Wikimedians at a GLAM-WIKI event, and months later were partnering with those volunteers to upload over 18,000 high quality collections images to Wikimedia Commons. The Walters changed the licensing on their website to be more free and evident, and also created an internship based around the Wikipedian in Residence concept. Today, the Walters continues this partnership, by working with Wikisource to transcripe Latin documents in the Walters collection. <br />
  • Researching and promoting participatory practices as the ones that I have shown you through my examples is one aspect of openness. Openness is about open content, open data, but it is also about open the practices of the museum to motivate people to engage with this content and data. Both activities are hand in hand. <br /> Preach towards openness needs researchers to do a well-educated guest <br />

Open and Participatory Museums Open and Participatory Museums Presentation Transcript

  • Open & Participatory Museums Dr. Mariana Salgado Postdoctoral researcher Arki Research Group Aalto University 2013 Prototyping interaction design in exhibitions
  • Interaction Design Participatory Design X Museology New Media Studies
  • How to create interactive design that encourages people to participate in exhibitions?
  • Sound Trace Äänijalki (2005) Ateneum Art Museum
  • Sound Trace
  • Mariana Salgado- Media Lab- November 2005
  • Mariana Salgado- Media Lab- November 2005
  • Conversational Map Keskustelukartta (2005) Kunsthalle (Taidehalli)
  • Mariana Salgado- Media Lab- November 2005
  • Mariana Salgado- Media Lab- November 2005
  • Mariana Salgado- Media Lab- November 2005
  • Mariana Salgado- Media Lab- November 2005
  • The Secret Life of Objects Esineiden Salatut Elämät (2008) Design Museum Helsinki
  • The Secret Life of Objects Mariana Salgado- Media Lab TAIK- April 2008
  • Design Research Prototyping interaction design in exhibitions
  • Water collection We always had some for water and gas collecting at the summerhouse, starting in my childhood. No well and three kilometres to the mainland.
  • The Secret Life of Objects Mariana Salgado- Media Lab TAIK- April 2008
  • Why participative practices?
  • “ Arcs and colours Excellent chairs, cute, humorous. I fantasised about these chairs for a long time and at some point a suitable pair came. The chair is like a pet. It smiles and gestures to me like a funny rascal, in its own way, each day. No other lounge chair does the same, but the morning starts well when I read the newspaper in its arms and drink my morning tea in it HU R MO   Yrjö Kukkapuro (1933-) Rocking chair “Experiment” birch laminate, tubular steel, wood, leather 1982 Avarte Oy Yrjö Kukkapuro graduated in interior architecture from the Institute for Industrial Arts in Helsinki in 1958. The basis for his design is in ergonomics. Kukkapuro has made an impressive amount of furniture for public spaces in his career. International postmodernist currents gave rise to the “Experiment” collection of furniture by Kukkapuro, first exhibited at the Milan furniture fair of 1982. The success of “Experiment” was evident in the fact of it being featured in 32 different newspapers and trade magazines. Yrjö Kukkapuro (this was a link to the designer’s company: http://www.avarte.fi/english/designers/yrjo-k )
  • “ Spaceless space I recently heard a lecture by a Spanish artist called Roc Pares. He has worked with the idea of a virtual void. I see a certain similarity between Kåhre’s and Pares’ works, except that Pares works with the means of virtual reality and Kåhre’s piece is purely based on the physical. Both works also remind me of an article “Psychology and Nothing” written by Eliot Hearst (1991, American Scientist, 7, 432-443). Hearst writes about how hard it is for us humans to think about something that “is not” and that we are programmed to deal with things that “are” and “exist.” Thinking about Kåhre’s piece, it might be that we are programmed also to perceive “what is” and not “what is not”. AF TE R- Galleria virtual: The website of Roc Pares’ work Galería Virtual. Comment left in Conversational Map. BE FO R
  • “ Aalto vase Definitely one of the most well-known pieces of Finnish glass design in the world. I live in the U.S and have this vase at my home in many sizes and colours, and it makes me appreciate the artistic talent we have in Finland “ FO R Grandmother There is a Savoy vase in every Finnish home. The size and colour just varies. It’s suitable for everything: flowers, fruit and stones. It is a true Finnish classic. Original in English. EI GN VI EW “ “ Minimal All this Finnish design makes me want to listen to minimal techno music. Finnish design inspires me whenever I buy objects. Their high quality makes me think twice before choosing an object. They are practical, sit well with furniture, and their use of materials is good. Hard to say how much I appreciate your designs.
  • “ This thing is very good, says an open-sea fisherman. It’s amazing how the designer has got the idea of letting water pass through the head of the fish, thus making it wobble in a nice way that the big fish can’t resist. Comment left at The Secret Life of Objects. EX PE RI EN CE S
  • “ Anti-Ode to a Lamp (Ode to Objects) A man invents a lamp that is not a lamp He hides the lamp inside ice. I don’t understand I am already cold I want warm light, yellow and graceful A woman invents a new lamp she places it inside the sun. Every morning it smiles at her through the gap in the curtains. EM Nana OT IO   . Poem made for The Secret Life of Objects. NS
  • “ Visitor’s comment I have heard a story about these scissors, where the colour of their plastic part is a result of the prototype process in which they used some leftover pieces of plastic that happened to be orange, the orange that afterwards was used… is that story true? Comment left at The Secret Life of Objects. DI AL OG U E “ Answer from museum’s staff The story is true. Fiskars had made a juice extractor before that. The juice extractor used orange plastic that accidentally ended up on the scissors handles when the first syringe was chosen. Workers were involved in the decision, and the colour orange was chosen for the handles. Comment left at The Secret Life of Objects.
  • “ Eeronauts The furniture by Eero Aarnio has prompted a particular fan club: the “eeronauts.” All around the world, they have incorporated his work not only into everyday life, but also into pop culture, from sci-fi to Playboy. These signs cover magazines, videos, movies, etc. Comment left at The Secret Life of Objects. EX P ER T IS E
  • CR E AT IV I TY The Secret LifeMariana Salgado- Media Lab TAIK- April 2008 Finnish Design of Objects, an Interactive Map of
  • How to create interactive design that encourages people to participate in exhibitions?
  • GROUP WORK 10 MIN Think in a participatory exhibition you have visit In which way it was participatory? Who was invited to take part? How? Tell to the others in the group Choose one case Present it
  • EXAMPLE S
  • Työväenmuseo Werstas: http://www.werstas.fi/? q=node/803
  • http://www.flickr.com/groups/vangoghmuse
  • http://openexhibits.org/
  • Participatory practices Open Content and Data Create and reuse
  • GLAM = Galleries, Libraries, Archives and Museums Open GLAM on kansainvälinen verkosto, joka koostuu avoimien sisältöjen ja tiedon kanssa työskentelevistä toimijoista. http://openglam.org/ #openglam
  • GLAM = Galleries, Libraries, Archives and Museums Open GLAM on kansainvälinen verkosto, joka koostuu avoimien sisältöjen ja tiedon kanssa työskentelevistä toimijoista. http://openglam.org/ #openglam ttp://avoinglam.fi/
  • ttp://fi.okfn.org/
  • Support the construction of a network Stimulate the discussion on Openness Promote open content and legal creative use/re-use of cultural heritage
  • A series of workshops and events in different regions of Finland Promote the development of best practices
  • http://www.kiasma.fi/ohjelmisto/tapahtumat-jaluennot/wikimaraton http://fi.wikipedia.org/wiki/Kiasm
  • Retrieved from http://blog.kiasma.fi/blog/?p=10
  • https://www.finna
  • Participative practices approaches Open Push towards openness needs researchers + students + GLAM Design- research on cultural organizations as a form of activism
  • Thanks! mariana.salgado@aalto.fi http://www.slideshare.net/mariana. salgado