I wrote a thing on Medium

19pkqrbobz8lanu6w-b5gma

“Being Teachable” on Medium

Travels in November

1024px-korean_air_airbus_a380-800_with_contrail

Contrails. CC BY-SA 3.0 image by Wikimedia Commons user Cp9asngf

November is going to be action packed! I’m not really ready for it, but c’est la vie. I’ll be doing a whirlwind tour of North America and Europe, going to three different conferences, and finally, finally, finally going to see the Louisiana Museum and learning more about how the amazing Louisiana Channel runs.

Oct 31-Nov 4,New Orleans
Museum Computer Network Conference 2016
http://conference.mcn.edu/2016/attend.cfm

This year, Bruce Wyman, Kate Haley Goldman, and I are repeating our “Experiencing the Visitor Experience” workshop on the 1st.  The inimitable Suse Cairns and I are also hosting an informal book club to discuss “Post-Critical Museology”. Time and place TBD, so check Twitter for updates. Other than that, I’m free as a bird and looking forward to attending sessions!

Nov 10, Copenhagen
Louisiana Museum
http://www.louisiana.dk/

I’m visiting the Louisiana Museum and talk to the folks at the Louisiana Channel before heading across the bridge to Malmö attend Alibis for Interaction.

Nov 11, Malmö
Alibis for Interaction 2016
http://www.alibisforinteraction.se/

Nordic LARPing anyone? Alibis for Interaction is a one-day masterclass on the craft of designing human interaction, participation and narrative experiences. Because participation can be hard. Talking to strangers is hard. Receiving attention is hard. Doing new things is hard, Even when whatever you’re being invited to do looks fun or really important issue. I’ll be doing research for a potential exhibition on play and contemporary art, and shooting some run-n-gun interviews.

Nov 12-13
Up in the air. There’s tons to see in Copenhagen. Suggestions?

Nov 13-16, Köln
Clash of Realities 2016
http://www.clashofrealities.com/2016/

At Clash of Realities, experts from the academy, science and research, economics, politics and the game industry will discuss pressing questions concerning the artistic design, technological development, and social perception of digital games, as well as the spreading of games literacy. I’ll be doing more research for a potential exhibition on play and contemporary art, and shooting more formal interviews with our intrepid videographer, Mr. Chip Van Dyke.

So if you’re in New Orleans, Copenhagen, Malmö, or Köln, hit me up and we’ll have coffee or a drink! DMing me on Twitter is probably the safest bet, email also works.

On distributed museums

7309532276_c587d7c789_k_d

Nachschaffungszellen. CC-BY 2.0 image by Flickr user Maja Dumat

Museum hive event #1 is coming up!

“What’s Museumhive?” you ask? Excellent question. It’s an informal gathering of people connected with museums to explore new community-centered visions for museums. We intend to create a new hybrid structure, Museumhive, that generates socially relevant content through a series of informal, engaging meetups and Google Hangouts. Like a hive, the structure involves a community, members who come and go and take part in building the hive. Participation is wide, the barrier to entry is as low as we can make it, and there is a tangible outcome to the effort – digital publications all on the theme of “The Distributed Museum” — a museum that is distributed throughout the community.

The formula for Museumhive is pretty simple:

IRL meetup + virtual followup = 
fun & effective thought leadership.

You can learn more about the experiment at the Museumhive website and register to attend. You should also take a peek at guest speaker Nina Simon’s recent post on what constitutes good distributed museum experiences. Brad Larson, Museumhive PI, and I have been talking about this idea for a couple of years now, and I’m totally stoked to see how the kickoff event goes. It’s also encouraging to see Federal funding agencies like IMLS taking a chance on a project that at first blush might seem like a bit of an outlier. I’m a sucker for high-risk/high-reward scenarios. And figuring out a model for “the distributed museum” is a great one to tackle.

The ___________ museum

The distributed museum – one where the generative acts of the museum are decoupled from the edifice of the museum building – isn’t a new idea. Susana Bautista and Anne Balsamo described their vision of the distributed museum thus, “No longer located in a particular physical space, the museum extends its presence through virtual spaces on the web as well as in the transient spaces created through the diverse practices and technologies of mobility. The distributed museum exists ‘over’ the conceptual divides between physical and virtual, fixed and mobile.” Nancy Proctor has written about museums as distributed networks for years, highlighting their potential to be: “conversational rather than uni-directional; engaging and relevant, rather than simply didactic: and generative of content and open-ended rather than finite and closed” [Emphasis mine].  This idea of increasing agency by generating content is something Philip Schorch touches on in The ‘reflexive museum’ – opening the door to behind the scenes,“By revealing the processes leading to the definition of categories and the interpretation of identities, and by giving ‘faces’ to decisions made, the ‘reflexive museum’ can become an embodiment of democracy, which does not silence controversies but gives diversity public voices.”

I’ll confess that when Brad first pitched the idea to me, I couldn’t really grok what he was on about. I understood the concept of a distributed museum experience intellectually, but it conjured up no visuals. I’ve read Bautista and Balsamo’s works, and resonated with their injunction that “the distributed museum”, though often described as being distributed throughout digital means “is not limited to digital technology, even in the digital age.” I’ve tended to be skeptical to any of the formulations of “the __________ museum is…” that promise to fix whatever is ailing the creaky old edifice that is “the traditional museum”. There are a lot of them! The _______ museum could be connected, transformative, responsive, empathetic, participatory, reflexive, kinetic, or distributed. And I’m sure Twitter will continue to feed me more. And often, it feels like a case of curing the symptom rather than the disease. Our MCN 2016 book club book is all about that problem. Desi Gonzalez recently wrote in The Public as Producer “…when social issues are reduced to a design problem, we ignore the very real political and economic landscapes surrounding them.” A lot of what I read and hear in the field goes to great lengths to avoid situating the work we do in its deeply, intrinsically political and economic context.

Maybe I’m getting over it, though. Or the optimist in me is beating the skeptic. I’m actually becoming the skeptimist I aspire to be. I find something heartening and true in Museumhive’s focus on convening groups of interested to talk about what’s important to them, and then figure out a way to make things better. We’ll see what Wednesday night brings. I hope to see you there!

For further reading:
What Does a Great Distributed Digital Museum Experience Look Like?
Museum 2.0
by Nina Simon
http://museumtwo.blogspot.co.uk/2016/10/what-does-great-distributed-mobile.html

The Public as Producer
by Desi Gonzalez
http://www.artinamericamagazine.com/news-features/magazine/the-public-as-producer/

Understanding the Distributed Museum: Mapping the Spaces of Museology in Contemporary Culture
Susana Bautista and Anne Balsamo
http://www.museumsandtheweb.com/mw2011/papers/understanding_the_distributed_museum_mapping_t.html

The Museum as Distributed Network
by Nancy Proctor
http://www.museum-id.com/idea-detail.asp?id=337

“The ‘reflexive museum’ – opening the door to behind the scenes”, Te Ara – Journal of Museums Aotearoa, vol 33 (1 & 2)
by Philip Schorch
http://dro.deakin.edu.au/view/DU:30048374

Museum Design 2034: The Distributed Museum
Future of Museums blog
http://futureofmuseums.blogspot.com/2010/03/museum-design-2034-distributed-museum.html

The Participatory Museum and Distributed Curatorial Expertise
by Thomas Söderqvist
http://link.springer.com/article/10.1007/s00048-009-0010-9

Understanding the Distributed Museum: Mapping the Spaces of Museology in Contemporary Culture
by Susana Smith Bautista and Anne Balsamo
http://www.annebalsamo.net/wp-content/uploads/2014/07/museums.pdf

The Digitized Museum
by Brian Droitcour, William S. Smith
http://www.artinamericamagazine.com/news-features/magazine/the-digitized-museum/

On saying “Yes”

15388518323_4757b4f020_k_d

“Yes” CC-BY-NC 2.0 image by Flickr user Jeremy Brooks

The Inbox that stubbornly refuses to empty. The “To Respond” list that keeps getting longer. The sudden, important meeting that sinks your day’s plan, and most of your day. The point where you mentally switch from “How much will I accomplish this week?” to “How much will I let slip this week?”. Sound at all familiar?

I’ve been having a week. One of those weeks. And something I’ve noticed about my stress response is that I tend to go into “damage control” mode, putting off people and tasks in favor of the thing that needs to be tended most. The impulse often feels soothing, like I’m asserting control and being decisive. And there are seemingly easy things to ditch. My to do list is full of them. The professor trying to find a project for her class. A PhD student asking for an interview. A request to give a lecture at a local museum. That book I’ve been lugging around for a couple of months that I still haven’t finished, let alone made notes on. It’d be easy to say “No” to and cross off the list. But often that damage control actually creates more damage than I’m preventing. The opportunity costs of saying “No” too quickly can be high.

As I was staring at the list, I had one of those little epiphanies that can realign your brain. Having decided to say no to a bunch of things, I didn’t feel any less stressed, or more free to focus. So I asked myself what it would look like if I said yes to the things I was thinking of crossing off. And for a few of them, saying yes didn’t really kill my crowded calendar any more than it already was. And once I started thinking about them as possibilities rather than intrusions I was able to see strategic value. For them, saying “Yes” turned into “Yes, and” in a way that Jen Brown would be proud of. The interview would provide data for other things I was working on. The student project could be a useful testing ground for an idea. I said “Yes” and immediately felt better, even though I’d theoretically added more to the pile.

The opposite was also true. The lecture, while appealing to my vanity and wallet, would require a ton of preparation on a topic that wasn’t really a current interest of mine. Saying yes would mean digging out books I hadn’t read in years, finding old presentations I could retool, and spending time that I would otherwise spend on other items on the to do list. Saying “No” to them was actually the right thing and felt right. But turning the default question around allowed me to differentiate more strategically.

And, of course, the other benefit of this epiphany was that I like saying “yes” and “yes and”. It feels good to engage with the world and the work, and not get stuck in the swamp of Too Much to Do.

Now if I can just finish that book and take notes before MCN2016

MCN 2016 Book Club!

I’ve been reading a ton of interesting stuff this. 2016 may go down as the year of “Ed has too many books to read.” But I’m making my way through them, and the pile of articles, too! One that has really been speaking to my condition has been “Post Critical Museology: Theory and Practice in the Art Museum”. Check it out!

41gg2u939jl-_sx331_bo1204203200_

What I like about it
Unlike so many of the books on the market, this isn’t a collection of essays. It’s the result of a major collaborative research project carried out at Tate Britain in London that looks at the reconfiguration of the relationship between art, culture and society and how Tate Britain has tried to respond, with mixed results. It is able to be grounded in one institution, and the authors do a good job of navigating between that specificity and generalizations about the field. I’m a sucker for anything promoting progressive thinking in museological practice and whether or not I resonate with what they’re calling “post-critical museology” or not, it’s been an interesting trip thus far.

I mentioned this on Twitter a few weeks ago to Prof. Suse Cairns, and the response was positive.

So, if you’re going to be in New Orleans for MCN 2016 and are looking for a more structured kind of conversation, come hang out with me and Suse Cairns, and whoever wants to join in as we talk about Post Critical Museology. We’ll find a spot and a time and have a good long talk! I’m looking forward to it.

 
 

The afterlife of good ideas

I posted a piece on PEM’s blog about a project I worked on in 2013 that has been enjoying a remarkable resurgence. Check it out.

And if you need a reason to remember to blog about your work, consider that all this interest is a result of people being able to read my original blog post about the boat.

Link

My new CODE|WORDS piece is up!

My long correspondence with Lesley Kadish about immersion has started appearing on the new CODE|WORDS publication: A Series of Epistolary Events. I invite you to check it out as it plays out over the next several weeks. Immersion, the Senses, and Embodied Experiences