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07 Jun 10
"Museum 2.0 Book Club: The Great Good Place
While it hasn't happened here in awhile, a new Museum 2.0 book club will be starting in two weeks to read and discuss The Great Good Place by Ray Oldenburg. Oldenburg is the individual to whom the term "third place" is attributed, and this well-researched 1989 book put him on the map. "Third places" are places that are neither work nor home but occupy essential positions as anchors of community life. They may be parks, cafes, bars, hair salons--any place that is conducive to informal, welcoming, creative interaction.
Many museum and library professionals use the concept of the third place to describe the idealized vision of a cultural institution as a place for community use and civic engagement. I was surprised when I first picked up Oldenburg's book to confront many ideas in it that are frankly quite challenging to my original conception of a third place. Oldenburg celebrates places that are less structured, less designed, less facilitated, and less content-rich than most museums want to be. It made me wonder if cultural professionals really want to turn their institutions into third places, and if so, what it would take. I hope we can explore those questions together in the weeks to come.
Here's how the book club will work:
1. Get your hands on a copy of the book in the next couple of weeks.
2. Read it (or a large chunk of it).
3. If you are so motivated, fill out this two-question form to let me know you want to write a guest post or do an interview with me about the book.
4. For four weeks starting June 1, each Tuesday there will be a Museum 2.0 post with a response to the book. I'd like to write one or two of these at the most. The goal is to make the blog a community space for different viewpoints. I'll be looking for guest posters who represent different types of institutions or approaches to the material. You don't need to be a museum or library professional to be eligible--just a good writer with an interesting perspective to share.
I look forw -
20 May 10
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Museum 2.0 explores ways that web 2.0 philosophies can be applied in museum design.
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Adventures in Participatory Journalism: An Interview with Sarah Rich about 48 Hour Magazine
A few weeks ago, a group of San Francisco-based writers had a crazy idea: they would make a magazine in 48 hours.
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14 May 10
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25 Sep 09
collectie wijzerMuseum 2.0 explores ways that web 2.0 philosophies can be applied in museum design.
verkenning_erfgoed_toegankelijkheid web2.0 toekomstvisie blogs Museum2.0 Nina_Simon
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05 May 09
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28 Apr 09
samuel baussondiscordance entre démarche en ligne et celle dans les murs
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The people at Museums and the Web are on the forefront of web-based innovative museum practice.
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I'm afraid that the web is becoming a participatory ghetto rather than an integrated driver of innovation in museums.
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Indianapolis Museum of Art
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nothing that connected me to the visceral, exciting institution Max had sold in his talk, the institution that exists on the web.
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Is this a problem? I think so. I felt like I had met someone online, someone sexy and open and intriguing, and then on our first date that mystery museum turned out to be just like all the others. -
You may be able to engage a thriving community online, but if their experience with the institution is fundamentally different from the onsite one, they will remain online-only visitors.
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. This used to be a problem of properly conveying the “visceral” in the “virtual.”
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But now, for some of the more innovative institutions on the edge, it’s a problem of making the visceral as relevant, dynamic, and interesting as the virtual.
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I ran a workshop on "going analog"
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All it takes is a willingness to put this stuff into the museum and the cleverness to design the right metaphor.
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Online, the IMA is respectful, open, and provides deep levels of information. Onsite, it’s an authoritative cipher.
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In most museums, technologists are still seen as service providers, not experience developers. They live in well-defined (and self-protected) silos. There are stereotypes flying in many directions—that curators won’t give up authority, that technologists don’t respect traditional museum practice, that educators are too preachy, that marketers just want to get more live bodies in the door.
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We need to do a lot more talking across the aisle
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I want museums to be open, participatory, dynamic, and relevant in all places, not just online.
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