Museums put questions on exhibit labels all the time. How can you design question-based exhibit experiences that are meaningful, beautiful, and useful to institutions and visitors alike?
Curiosity is the most important gift of humankind. "Innovation" and "Creativity" are only possible through curiosity and questioning. New ideas emerge when we ask "why", observe the world and set out to find answers. Innovation and Creativity are not teachable skills, but Curiosity is innate and dormant within each of us. These are some quotes to inspire your curiosity.
Curiosity is the most important gift of humankind. "Innovation" and "Creativity" are only possible through curiosity and questioning. New ideas emerge when we ask "why", observe the world and set out to find answers. Innovation and Creativity are not teachable skills, but Curiosity is innate and dormant within each of us. These are some quotes to inspire your curiosity.
Ten museum designers. 5 minutes each. Ten inspirations from outside the museum field. Featuring Nina Simon, Aaron Goldblatt, Anna Slafer, Dan Spock, Matt DuPlessie, Charity Counts, Ben Dickow, Penny Jennings, Adam Lerner, and Dottie Miles. Created by Nina Simon, Museum 2.0.
Three Things I've Learned about Design for ParticipationNina Simon
A short talk about scaffolding, design for thoughtful response, and responsiveness in museums--both online and in galleries. Presented by Nina Simon of Museum 2.0 on 25 November 2010 at the NODEM 2010 conference at the National Museum of Denmark.
A presentation about how to help all kinds of people--visitors, community members, and staff--feel ownership and identity with their museums. Presented by Nina Simon as the keynote at the 2010 British Columbia Museums Association conference in Nanaimo, BC on October 28, 2010.
At ASTC 2008, Nina Simon, Eric Siegel, Kathy McLean, and Tom Rockwell presented these provocations in a session intended to explore self-censorship in the creation of museum exhibitions (with a focus on science and technology centers).
Agora: putting museum objects into their art-historic contextMarieke van Erp
The digital era has presented big challenges, but also great opportunities for the museum world. One of these opportunities is the way museums can open up their collections to the public. Many museums are now actively exploring possibilities to present their collections online for visitors who cannot come to the museum, or to show objects for which they do not have space in the exhibition halls. Often they will put together themed Web sites for online exhibitions in which objects are presented in a certain context. However, these themed Web sites usually only cover only a small part of their collection. For the majority of the objects, the context is not made explicit. In the Agora project, we aim to make this context explicit in an automatic way in order to help users understand and interpret museum objects. We do this by linking museum objects to historical events and explicitly presenting these links in an event-driven browsing environment.
In the first part of my talk, I will explain the theoretical framework we have developed in the Agora project to represent historical contexts as well as the general challenges to the project. In the second part of my talk, I will focus on the particular challenges in information extraction for building the event thesaurus and linking museum objects.
These slides are from a presentation given at the Eurecom seminar on July 20 2012
This workshop focuses on designing questions for visitor response -- both crafting the question and designing its physical location. This workshop first presented by Nina Simon on April 23, 2010 at the National Postal Museum.
Last name 1Your NameProfessor FerreiraEnglish 6024 A.docxDIPESH30
Last name 1
Your Name
Professor Ferreira
English 60
24 August, 2011
What MLA Format Looks Like
This page is an example of what MLA format should look like. Please note that there are 1 inch margins around the page and that the writing is double spaced. Also, please note that there is a header. The header should contain the writer’s last name and the page number. Please use the tool bar to insert the header. The header is typically located under the View or Insert menus, but it depends on the software that you’re using. Be sure that you are using a Word program, otherwise there is a good chance that you won’t be able to read or view your papers on other computers, or email them to your instructor.
Please note that the title of the paper is not bold, not italicized, not in super-large print. In fact, it is in the same font as the rest of the paper. Also, there is no extra spacing between the class information, the title, and the beginning of your paper. Please don’t add any. It makes your paper look shorter, not longer.
Another important thing to be aware of is that some of the new Word programs
automatically default to have an extra space between paragraphs. This does not follow the guidelines of MLA formatting. If you find your paper has extra spaces, please be sure to go under the spacing option and delete them. Your should have the option to “Remove Space After Paragraph.”
Paper # 1
1. READ THE ARTICLE THAT FOLLOWS THESE INSTRUCTIONS
2. THINK ABOUT IT
3. ANSWER THE FOLLOWING QUESTION (USING 2 PHILOSOPHERS YOU HAVE READ OR READ ABOUT SO FAR IN THE CLASS). DOES MARY LEARN ANYTHING NEW WHEN SHE SEES RED FOR THE FIRST TIME? IF SHE DOES, THEN, WHAT IS IT? IF SHE DOES NOT, WHY NOT?
The paper should be:
· 12 font
· Times New Roman
· With a cover page
· A works cited page
· Cite all references and quotations made
· 3 pages
What Did Mary Know?
Marina Gerner on a thought experiment about consciousness.
Imagine a girl called Mary. She is a brilliant neuroscientist and a world expert on colour vision. But because she grew up entirely in a black and white room, she has never actually seen any colours. Many black and white books and TV programmes have taught her all there is to know about colour vision. Mary knows facts like the structure of our eyes and the exact wavelengths of light that stimulate our retinas when we look at a light blue sky.
One day, Mary escapes her monochrome room, and as she walks through the grey city streets, she sees a red apple for the first time.
What changes upon Mary’s encounter with the red apple? Has Mary learnt anything new about the colour red upon seeing the colour for the first time? Since Mary already knew everything about the physics and biology of colour perception, she must surely have known all there is to know about the colour red beforehand. Or is it possible that some facts escape physical explanations? (‘Physical’ in this sense refers to all the realms of physical science, ...
Ten museum designers. 5 minutes each. Ten inspirations from outside the museum field. Featuring Nina Simon, Aaron Goldblatt, Anna Slafer, Dan Spock, Matt DuPlessie, Charity Counts, Ben Dickow, Penny Jennings, Adam Lerner, and Dottie Miles. Created by Nina Simon, Museum 2.0.
Three Things I've Learned about Design for ParticipationNina Simon
A short talk about scaffolding, design for thoughtful response, and responsiveness in museums--both online and in galleries. Presented by Nina Simon of Museum 2.0 on 25 November 2010 at the NODEM 2010 conference at the National Museum of Denmark.
A presentation about how to help all kinds of people--visitors, community members, and staff--feel ownership and identity with their museums. Presented by Nina Simon as the keynote at the 2010 British Columbia Museums Association conference in Nanaimo, BC on October 28, 2010.
At ASTC 2008, Nina Simon, Eric Siegel, Kathy McLean, and Tom Rockwell presented these provocations in a session intended to explore self-censorship in the creation of museum exhibitions (with a focus on science and technology centers).
Agora: putting museum objects into their art-historic contextMarieke van Erp
The digital era has presented big challenges, but also great opportunities for the museum world. One of these opportunities is the way museums can open up their collections to the public. Many museums are now actively exploring possibilities to present their collections online for visitors who cannot come to the museum, or to show objects for which they do not have space in the exhibition halls. Often they will put together themed Web sites for online exhibitions in which objects are presented in a certain context. However, these themed Web sites usually only cover only a small part of their collection. For the majority of the objects, the context is not made explicit. In the Agora project, we aim to make this context explicit in an automatic way in order to help users understand and interpret museum objects. We do this by linking museum objects to historical events and explicitly presenting these links in an event-driven browsing environment.
In the first part of my talk, I will explain the theoretical framework we have developed in the Agora project to represent historical contexts as well as the general challenges to the project. In the second part of my talk, I will focus on the particular challenges in information extraction for building the event thesaurus and linking museum objects.
These slides are from a presentation given at the Eurecom seminar on July 20 2012
This workshop focuses on designing questions for visitor response -- both crafting the question and designing its physical location. This workshop first presented by Nina Simon on April 23, 2010 at the National Postal Museum.
Last name 1Your NameProfessor FerreiraEnglish 6024 A.docxDIPESH30
Last name 1
Your Name
Professor Ferreira
English 60
24 August, 2011
What MLA Format Looks Like
This page is an example of what MLA format should look like. Please note that there are 1 inch margins around the page and that the writing is double spaced. Also, please note that there is a header. The header should contain the writer’s last name and the page number. Please use the tool bar to insert the header. The header is typically located under the View or Insert menus, but it depends on the software that you’re using. Be sure that you are using a Word program, otherwise there is a good chance that you won’t be able to read or view your papers on other computers, or email them to your instructor.
Please note that the title of the paper is not bold, not italicized, not in super-large print. In fact, it is in the same font as the rest of the paper. Also, there is no extra spacing between the class information, the title, and the beginning of your paper. Please don’t add any. It makes your paper look shorter, not longer.
Another important thing to be aware of is that some of the new Word programs
automatically default to have an extra space between paragraphs. This does not follow the guidelines of MLA formatting. If you find your paper has extra spaces, please be sure to go under the spacing option and delete them. Your should have the option to “Remove Space After Paragraph.”
Paper # 1
1. READ THE ARTICLE THAT FOLLOWS THESE INSTRUCTIONS
2. THINK ABOUT IT
3. ANSWER THE FOLLOWING QUESTION (USING 2 PHILOSOPHERS YOU HAVE READ OR READ ABOUT SO FAR IN THE CLASS). DOES MARY LEARN ANYTHING NEW WHEN SHE SEES RED FOR THE FIRST TIME? IF SHE DOES, THEN, WHAT IS IT? IF SHE DOES NOT, WHY NOT?
The paper should be:
· 12 font
· Times New Roman
· With a cover page
· A works cited page
· Cite all references and quotations made
· 3 pages
What Did Mary Know?
Marina Gerner on a thought experiment about consciousness.
Imagine a girl called Mary. She is a brilliant neuroscientist and a world expert on colour vision. But because she grew up entirely in a black and white room, she has never actually seen any colours. Many black and white books and TV programmes have taught her all there is to know about colour vision. Mary knows facts like the structure of our eyes and the exact wavelengths of light that stimulate our retinas when we look at a light blue sky.
One day, Mary escapes her monochrome room, and as she walks through the grey city streets, she sees a red apple for the first time.
What changes upon Mary’s encounter with the red apple? Has Mary learnt anything new about the colour red upon seeing the colour for the first time? Since Mary already knew everything about the physics and biology of colour perception, she must surely have known all there is to know about the colour red beforehand. Or is it possible that some facts escape physical explanations? (‘Physical’ in this sense refers to all the realms of physical science, ...
Monsters, Mysteries and Magic SWFLN Webinar September 2014Susan Smith
Looking for alternatives for Halloween programming? This webinar features multimedia resources, research ideas and activities around the general themes of monsters, mysteries, and magic for working with preschoolers, school aged children, and teens.
Presenter: Dr. Susan Smith
Dr. Susan Smith is the Technology and User Experience Librarian and Associate Professor at Hodges University. She works with students and teaches research methods and utilizing library resources. She currently teaches for the Johnson School of Business and has also taught for the Nichols School of Professional Studies. She was named Hodges University Professor of the Year for 2013. Susan serves on both regional and state library committees, and she has previously worked in public libraries in Texas; as a librarian specializing in Children’s Activities, Teens, Reference, and Fiction. She holds a BA in English, a Masters’ Degree in Library and Information Studies, both from the University of Oklahoma, and a Ph.D. in Public Administration from the University of Texas at Arlington. Susan blogs at http://readspace.net/
Don't stand in the fire: Leadership lessons from World of WarcraftBrian Hawkins
Often the most memorable lessons are when we fail. In the real world, (especially in business), that can be costly. So why, in something as crucial as leadership, do we not play games to learn this skill where the costs are low? With massively multiplayer games like World of Warcraft we have an opportunity to start learning leadership and make mistakes. Without destroying a thing.
In this talk, I'll share eight leadership lessons I learned by playing WoW and give examples of times, both in-game and in real life, where I applied the lessons (or where I had a pretty epic fail because I didn't).
I didn't set out to learn how to lead in World of Warcraft, but I did. It has paid off in my professional career more than any other training.
The Santa Cruz Museum of Art & History (MAH) is working with the Foster Youth Museum and regional foster youth, advocates, and artists to co-develop an exhibition about transition-age foster youth that is a platform for art, dialogue, and action. The team of community partners is called C3. These are the slides from C3 meeting #2, held on 22 February 2017.
How can you make your work matter more to more people? An introduction to the ideas and stories in best-selling author Nina Simon's new book, The Art of Relevance (2016). These slides (or a version) shared in 50+ venues during The Art of Relevance book tour.
Radical Collaboration - 2015 Future of Libraries editionNina Simon
How can community members make our institutions better? By being our partners. This talk was given as the opening keynote at the Future of Libraries conference in September 2015 in San Francisco, CA.
The MuseumNext 2015 conference is all about inclusion. Everyone is "for" inclusion, but it doesn't happen on its own. How can we fight for the inclusive institutions we believe in? A keynote address delivered by Nina Simon on September 26 at MuseumNext in Indianapolis, IN.
Building Community in Museums - WHO / HOW / WHYNina Simon
"Community building" is not an abstraction. WHO are we talking about? HOW do we build? WHY do it?
A talk given at the AAM 2015 conference by Nina Simon, Executive Director of the Santa Cruz Museum of Art & History.
The story behind the institutional transformation of the Santa Cruz Museum of Art & History into a thriving, central gathering place. Presented by Nina Simon at the Internet Librarian 2014 conference in Monterey, CA on October 28, 2014.
These are the slides from the 9/20/2014 meeting of the Creative Community Committee, a creative leadership network for Santa Cruz County, facilitated by the Santa Cruz Museum of Art & History. Our goal is to build a stronger, more connected community together.
Radical Collaboration: Tools for InclusionNina Simon
This talk was developed by Nina Simon for the Our Museums convening in June 2014 in partnership with the Paul Hamlyn Foundation. The focus is on mechanisms for scaling up inclusive and participatory practice in museums and cultural institutions.
An exploration of institutional transformation to make the Santa Cruz Museum of Art & History a more community-driven, dynamic, successful organization. Honest successes and challenges along the way.
What does it take to truly transform how an arts organization engages with its community? This is the story of how the Santa Cruz Museum of Art & History dramatically increased its attendance, revenue, and public impact through a "revolution" in active participation and social bridging. Presented by Nina Simon at the Theater Communications Group national conference in June 2013.
Radical Collaboration: Tools for Partnering with Community MembersNina Simon
A presentation and workshop by Nina Simon and Stacey Marie Garcia at the 2013 California Association of Museums conference based on our work at the Santa Cruz Museum of Art & History collaborating with diverse community groups and individuals.
A talk given at the Nobel Peace Center on Monday, November 5, 2012 about how we transformed the Santa Cruz Museum of Art & History through participatory practice.
Igniting Customer Curiosity through Participatory DesignNina Simon
A 4-hour workshop created by Nina Simon for the Risk and Reward conference in Telluride on Sept 10, 2012. This workshop leads participants through developing meaningful relationships with visitors/customers based on personal profiles and social object connections.
Nina Simon's slides from the 2012 AAM session "Museum as Prototype" about the role of experimentation in program development at the Santa Cruz Museum of Art & History.
This session was presented at the 2012 American Association of Museum’s annual meeting by Nina Simon (Santa Cruz Museum of Art & History), Ellen Rosenthal (Conner Prairie), and Eric Siegel (New York Hall of Science). These short presentations were followed by an extensive dialogue about museums, financial models, and budgeting.
Transforming the MAH through Participatory EngagementNina Simon
A presentation offered by Nina Simon of The Museum of Art & History in Santa Cruz in conjunction with http://namac.org/node/26110 on February 29, 2012.
Slides from a panel discussion at the 2011 American Association of Museums annual meeting. Featuring Nina Simon (Santa Cruz Museum of Art & History), Beck Tench (Museum of Life and Science, Durham), Lori Fogarty (Oakland Museum of California), and Adam Lerner (Museum of Contemporary Art Denver).
Fonts play a crucial role in both User Interface (UI) and User Experience (UX) design. They affect readability, accessibility, aesthetics, and overall user perception.
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
Technoblade The Legacy of a Minecraft Legend.Techno Merch
Technoblade, born Alex on June 1, 1999, was a legendary Minecraft YouTuber known for his sharp wit and exceptional PvP skills. Starting his channel in 2013, he gained nearly 11 million subscribers. His private battle with metastatic sarcoma ended in June 2022, but his enduring legacy continues to inspire millions.
Connect Conference 2022: Passive House - Economic and Environmental Solution...TE Studio
Passive House: The Economic and Environmental Solution for Sustainable Real Estate. Lecture by Tim Eian of TE Studio Passive House Design in November 2022 in Minneapolis.
- The Built Environment
- Let's imagine the perfect building
- The Passive House standard
- Why Passive House targets
- Clean Energy Plans?!
- How does Passive House compare and fit in?
- The business case for Passive House real estate
- Tools to quantify the value of Passive House
- What can I do?
- Resources
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
10. DAISY: How do I know I'm talking to a human
and not just another machine?
DAISY: Are you sure that I'm not a real person
talking to you by e-mail? What would it take
to convince you?
EXPLORATORIUM