From the early 9th century, the territory of the country which is today known as The Netherlands was part of Frisia, which covered the whole coastal area from southern Denmark in the east to Flanders in the west. Afterthe territory of the future Netherlands became the northernmost part of the kingdom of Lotharingia, created under the treaty of Verdun which finally settled the lengthy disputes between the sons of Emperor Louis I.
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.Chapter 11 is a chapter of Title 11, the United States Bankruptcy Code, which permits reorganization under the bankruptcy laws of the United ashio-midori.comr 11 bankruptcy is available to every business, whether organized as a corporation, partnership or sole proprietorship, and to individuals, although it is most prominently used by corporate entities.
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