Some outline and notes:
Personal experience on the comment station as a part of the exhibition
He found it was not a real participatory by the two categories
stare at the camera and teens express themselves
The goal is to promote dialogue or creative expression, shared learning or co-creative work:
we should start a question like this:
which tool or technique will produce the desired participatory?
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.
The chief difference between the traditional and participatory design techniques is the way that information flows between institution and users.
participatory supports multi-directional content experiences. The institution serves as a “platform” that connects different users who act as content creators, distributors, consumers, critics, and collaborators.
Which means the institution cannot guarantee the consistency of visitor experiences. Instead, the institution provides opportunities for diverse visitor co-produced experiences.
finding ways to design participatory platforms so the content that amateurs create and share is communicated and displayed attractively.
On the other hand, design opportunities for visitors to share their own content in meaningful and appealing ways.
trusting visitors’ abilities as creators, remixers, and redistributes of content.
make a project can grow and change post-launch beyond the institution’s original intent.
Making Participation Physical and Scalable
The growth of social Web technologies in the mid-2000s transformed participation from something limited and infrequent to something possible anytime, for anyone, anywhere. We entered what MIT researcher Henry Jenkins calls a “convergence culture” in which regular people—not just artists or academics—appropriate cultural artifacts for their own derivative works and discussions.
Elaine Heumann Gurian wrote an essay entitled “The Importance of ‘And’” to address the need for museum practice to accommodate many different and potentially conflicting goals, including scholarship, education, inclusion, and conservation.
Interactive design techniques are additive methods that supplement traditional didactic content presentation.
Interactive exhibits.promote learning experiences that are unique and specific to the two-way nature of their design.
Participation at its Bestparticipatory elements must be well designed to be useful.
tagging the books,
Bibliotheek Haarlem Oost, a branch library in the Netherlands.
What Does Participation Look Like?the creation of user-generated content.
creators are a small part of the landscape. You are far more likely to join a social network, watch a video on YouTube, make a collection of things you’d like on a shopping site, or review a book than you are to produce a movie, write a blog, or post photos online.
“90-9-1” principle. This principle states: “In most online communities, 90% of users are lurkers who never contribute, 9% of users contribute a little, and 1% of users account for almost all the action.” by Jakob Nielsen 2006
The surprising thing about participation inequality is not that it exists in the real world but that it exists on the Web.
Encouraging Diverse Forms of Participation
First, exhibits that invite self-expression appeal to a tiny percentage of museum audiences.
focusing on creators is that open-ended self-expression requires self-directed creativity.
The best participatory experiences are scaffolded to help people feel comfortable engaging in the activity.
Who’s Involved in Participation?the institution, participants, and the audience. The audience may mean the institution’s visitors, but it can also include other constituencies who might have a particular interest in the outcomes of the project
From the institutional perspective, participatory projects have value when they satisfy aspects of the mission. Institutions do not engage in participatory projects because they are fun or exciting but because they can serve institutional goals.
CASE STUDY: Climate Conferences at The Wild CenterThe Wild Center in Tupper Lake, New York
Outcomes for Participants and AudiencesThese outcomes include: to attract new audiences, to collect and preserve visitor-contributed content, to provide educational experiences for visitors, to produce appealing marketing campaigns, to display locally-relevant exhibitions, and to become a town square for conversation.
Geoff Godbey, professor of leisure studies at Pennsylvania State University, commented in a Wall Street Journal article: “To be most satisfying, leisure should resemble the best aspects of work: challenges, skills and important relationships.”
three necessary components for a successful participatory mechanism: a plausible promise, an effective tool, and an acceptable bargain with the [participants] .
John Falk’s research into visitors and identity-fulfillment indicates that visitors select and enjoy museum experiences based on their perceived ability to reflect and enhance particular self-concepts.
be explicit about how they can fulfill their own needs and contribute to a project with larger impact.
When it comes to the tool, participants need clear roles and information about how to participate.
When participants contribute to institutions, they want to see their work integrated in a timely, attractive, respectful way.
Providing a good bargain for participation means valuing participants’ work.
trust, clarity and honesty
Creating Quality Outcomes for AudiencesHow can a participatory project produce outcomes that are valuable and interesting to the larger institutional audience?
staff can decide what kind of experiences they want to offer and design participatory platforms to accommodate
ndividuals’ diverse and idiosyncratic criteria for fulfillment.
How Does Participation Work?
Two counter-intuitive design principles
First, participants thrive on constraints, not open-ended opportunities for self-expression. And second, to collaborate confidently with strangers, participants need to engage through personal, not social, entry points.
Participation Thrives on Constraintsinvite visitors to share experiences in a way that celebrates and respects their unique contributions , need more constraints designs on their self expression.
Going Socialdesign of experiences that encourage people to participate socially with each other.
Transforming a cultural institution into a social hub requires engaging individual users and supporting connections among them.
There are some stage two opportunities for visitors to touch things while visiting a historic house on a guided tour. ask questions, and dig into personal interests.
Designing physical spaces to support interaction
CASE STUDY: From Me-to-We with Nike Plus
Nike+ is built on two basic products: shoes and music.
On stage two, Nike+ distinguishes itself by providing real-time data tracking.
Nike+ gives users points and virtual trophies for completing personal goals.
online environment for Nike+, users can see the goals and runs set by other people, and use them as inspiration.
Then Nike+ goes further, offering “collective challenges,” in which users team up based on a wide range of similarities or affinities (gender, age, political affiliation, athletic ability) to accomplish shared running goals.
stage five encourages people to run together.
If you want to help visitors and staff members connect with the people who will be most interesting and useful to them, you need to welcome them personally and acknowledge their individual interests and abilities.
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