What type of engagement?

The purpose of these categories was to an attempt to define different ‘types’ of visitor participation and to asses the balance between the museum’s input and the visitors’ activities

Creative practices in museum

The purpose of these categories was to an attempt to define different ‘types’ of visitor participation and to asses the balance between the museum’s input and the visitors’ activities. These types were created to try to place each case study within a perimeter that could be easily referred to. In the Participatory Museum (2010), Nina Simon also refers to 4 categories (contributory, collaborative, co-created, and hosted) and lays out a framework
for participation. Within The Creative Museum Project we do not imply that one level or type is better than the other. We recognise that each organisation is different, and that there are different types of project and different levels of participation.
Contributors were also asked to select a particular category for their case study from categories including: Maker-in-residence; Maker Faire/Fare; Maker Spaces; FabLabs; HackerSpaces; hackathons; MediaLabs; digital engagement; software design and application development; craft and design projects; popup museums / exhibitions; interpretative techniques / interpretation; health and well-being. We also invited contributors to suggest other terms as appropriate.

 

These terms were suggested to encapsulate some of the new vocabulary associated with the type of project and programmes with The Creative Museum. Some of these terms require further explanation and are illustrated below.

How did we approach the analysis?

The case studies included have been collected by each partner and provide a snapshot of activity across Europe, from the partner countries

Creative Practices in Museum

The case studies included have been collected by each partner and provide a snapshot of activity across Europe, from the partner countries – Croatia, Finland, France, Ireland, Italy, the Netherlands, Norway and the UK. Throughout the project’s duration we will collect further case studies and examples from our networks from across Europe and worldwide. This analysis is a springboard for discussion within the project partnership team, to share via our dissemination networks (the museum, creative, digital and Maker communities), to enable us to assess current attitudes, pinpoint types of project and activities. It is designed to create a flavour of the current state of play from selected countries and weacknowledge that the examples are by no means exhaustive, there is a tremendous amount of fantastic work being carried out by museums within Europe and further afield. The Creative Museum Project encourages feedback and participation from the museum, digital and Maker communities through social media (Facebook, Twitter and blogs, video diaries) and our dissemination activities, such as conferences and seminars.

 

For the purposes of The Creative Museum Project, we recognise all types of museum, gallery, science centre, heritage and archaeological site within the project.

 
We created a framework for the case studies, asking contributors to define their project within the following categories:

 
Type 1 Workshop / project / one-off event:Workshop, short project or one-off event where visitors come and make /
create something or engage with the collection facilitated by a member of
museum staff, educator or specialist such as a Maker or an artist.

 

Type 2 Dedicated spaces:
Spaces within a museum dedicated to creativity where visitors can participate in creative processes. These can include spaces with specialist facilities and technology such as FabLabs (Fabrication Labs), MediaLabs, Living Labs or Digital Spaces. These are often seen as places for free experimentation.

 

Type 3 Co-curated exhibitions, partnerships and collaborations:
Visitors engage with the museum over a period of time, work collaboratively with museum staff (for example on an interpretation project); co-curated exhibition, display, dedicated piece of technology. Often the museum works with an external partner to enable this collaboration.

 

Type 4 Re: mixing the museum:
Visitors to the museum ‘remix’ the museum by taking over spaces in the museum, reinterpreting collections by working as active agents in the process with curators and museum staff.

 

Type 5 “Permission-free”
Visitors “do their own thing” and respond to the collection without the involvement of the institution.

What do we mean by “creative”

There are many definitions of creativity and what it means to be creative

Creative practices in museum

There are many definitions of creativity and what it means to be creative. If you ask a room of museum professionals the question, “are you creative?” some will shake their head vigorously thinking that ‘creativity’ and ‘being creative’ is about the able to make and produce. They might think of ‘creative professionals’ such as artists or musicians. However, many will nod and agree, thinking of all the ways that they are required to ‘be creative’ in their jobs, with budgets, programming, collections, relationships, and so on.

 

A quick online search produced this definition of creativity: “The ability totranscend traditional ideas, rules, patterns, and relationships to create new ideas; originality or imagination.”

 

Within the museum sector, professionals, primarily those engaged with learning and audience engagement but also in collections management are required to think ‘creatively’ on a day-to-day basis and to look outside the sector for inspiration, collaboration, partnership and for funding.

 

In The Creative Museum the visitor engages with the collection, the building, and the people to make or create something. The Creative Museum Project is about opportunity; doing and making; experimenting and innovating; making connections; opening up museums; learning; concrete results and interpreting collections.

Final Thoughts & Key Findings

One thing that is clear from the case studies gathered here is the incredible and diverse creative approaches that museums are taking to engage with new audiences, particularly young, tech-savvy millennials. But what is also significant are the ways in which museums are opening their doors to engage with their visitors, inviting new partners to explore collections to create daring collaborations, taking risks, developing spaces for creativity and
creative pursuits and learning from other sectors including arts, academia, healthcare technology and makers. The case studies and examples of best practice only just scratch the surface of some of the stimulating and thoughtprovoking work that is happening in the sector. It is also clear that museums are operating in a dramatically and rapidly changing environment. New projects are coming on board all the time, and new spaces are opening out.
Our challenge throughout the duration of this project is to keep abreast of these developments, as a partnership to challenge professional practice, share our experiences and to maintain awareness of the multitude of opportunities and projects that exist and which are continuously being developed. 

Jo-Anne Sunderland Bowe, Director, Heritec Limited, February 2016

Cross-sector partnerships / cooperation
museums need to look outside the sector to create partnerships and foster collaboration. Many of the case studies include partners from the academic community, communities of Makers and hackers, technology specialists, engineers, enthusiasts, and even healthcare providers.
 

Communication
it may seem obvious but regular communication is key to successful partnerships and relationship building. Unfortunately this is not always possible; people can be difficult to get hold of as they might have other priorities and not everyone uses the same means or methods of communication. Social media and digital communication apps have broken down some of the formality of language in communication, but is everyone in the partnership happy with using these methods?

 
Relationship building
to build successful partnerships you need to build successful relationships with the people you are working with. Relationship building takes time, as it can take time for stakeholders to get to know each other and to trust one each other. Be prepared for a bumpy ride.

 

Finding a common language
museums, visitors, and specialists all ‘speak’ different languages and sometimes it is difficult to find a common ground. Sometimes finding the common ground is a case of trial and error.

 

Challenging visitor perceptions
museums are increasingly willing to open their doors, to expose themselves to different methods of engagement and interpretation, but the visitors themselves do not always feel comfortable with this shift in the dynamic. It can take time to break down barriers.

 

Challenging the museum the value of working in collaboration with a visitor to co-create, to engage, to re-interpret is not always seen in the same way by all museum staff. Often curatorial staff can be reluctant to share ownership of collections with visitors, but increasingly the expertise of non-curatorial staff in understanding collections is being recognised.

 

Ownership
who is taking ownership of the project? Who does the project belong to? Who is it for? Who owns the copyright? How are roles and responsibilities within the project being divided and understood ?

 

Programming
Collaborative projects create opportunities for new activities and programmes within the museum.

 

Reaching new audiences
museums want to reach out to new audiences, to build relationships with their local communities, and create a positive image of the museum. These new audiences might include young adults, the under 5s, the elderly or millennials (people born in the 21st century).

 
Using technology
using technology carries risk. Equipment breaks down; the Internet
connection is slow; visitors’ smartphones are not using the most current operating system; the session is oversubscribed. Technology can be great when it works but disappointing when it fails. Managing expectations is key when using technology.

 
Finding the right tools for the job (and matching them to the audience)
a piece of equipment, which might seem easy to use for one person, can be complicated for another person. A piece of fabrication equipment might create fantastic results but be too time-consuming for an 8 year-old to sit and use. It is important to find the right tools for the job.

 
Free software
many of the projects presented have made use of open-source and free-touse software, encouraging the sharing of outputs. Maintaining focus and relevance (to collection) it is easy to get carried away and to lose focus.

 

Funding
working across different sectors brings new opportunities for funding for new activities, projects and initiatives.

 
Planning
good projects start with clear aims and outcomes. Give yourself time
for planning and assess the amount of resources (money, work force or equipment) you might need. Look at project management tools (e.g. SMART – Specific, Measurable, Achievable, Realistic, Time bound) when setting goals.

 
Time / timings
whatever happens, there never seems to be enough time, so be realistic when setting your goals for the project. If timings slip, what can be scaled back or delivered at a different time. Be realistic.

 
Being prepared for surprises
expect the unexpected, be open-minded and willing to adapt. Show flexibility and agility to move with the project.

 
Sustainability
look beyond the initial project or activity to understand how the work can be sustainable – through scaling up (or down), or working with different groups.

 

La science: une histoire d’humour

TRACES / Espace des Sciences Pierre-Gilles de Gennes / ESPCI Paristech – PSL University, France

La science: une histoire d’humour was a 100% crowdsourcedexhibition about science and humour. The entire content of theexhibition was provided by the users/visitors. The exhibition opened as anempty space without content or objects. At first, researchers were askedto bring jokes and drawings hanging on the doors of their labs, and sharethem with the public. This was then shared with the wider general public ,and all the events were advertised with a “Come with your joke!” claim. Theexhibition continued to grow until the final day, when the public were askedto take home the jokes and leave the exhibition empty again. The project wasdeveloped within the science-culture centre (ESPGG) of a leading researchuniversity, ESPCI, and addressed a mix of lay public and professionally drivencommunities.

www.groupe-traces.fr
www.espgg.org

The Museum as a Neighbourhood Living Room

Museum of Technology (Tekniikan Museo), Finland

Soundscape workshop © Museum of Technology

The Neighbourhood Living Room looks at how a museum can build a more dynamic and participatory audience relationship. The vision is that a museum can be integrated as a part of the community and act as a living room for citizens. The methods used are based on applied arts, applied music education, social media, mobile technology and cultural production. Art based methods will work as a tool for promoting communal spirit between residents and as a driving force for a unique city life based on the original elements of the district. The Museum as a Neighbourhood Living Room is a three-year project and aims to make The Museum of Technology (the only general museum of technology in Finland) more approachable for local residents, particularly young adults. The project has been realised together with Helsinki Metropolia University of Applied Sciences (with students mainly from arts and technology programmes) and The Neighbourhood Residential Association Artova. The biggest challenge so far has been in the challenging of attitudes and perceptions of students involved in the project with museums and museum interpretation.
www.metropolia.fi/en/research-and-development/projects/the-peoples-smart-sculpture

Digital engagement / interpretation project “Nove in storia”

Zaffiria Centre / Centro Zaffiria, Italy

type3-6

This project was initiated in response to two problems: when a museum does not have a large collection, and when visitors of that museum are mainly seasonal, either tourists visiting in the summer months or schools visiting in the winter, and how you address these problems to create critical mass. Four years ago the museums of Verucchio, Santarcangelo and Bellaria Igea Marina in the Rimini area of Italy began a process of visitor engagement through the development of joint projects and online products.
They had few resources for their operation, and in recent years a strong need for networking emerged to create a wider range of initiatives and strategies. The projects were carried out in teams involving both museum curators and the Zaffiria Centre, which provided its experience of technology mediation deriving from twenty years of media education.

Technology and especially interactivity posed new questions to the curators of the collections: how to start a dialogue with online visitors and arouse interest and curiosity, how to find good stories to listen to and share? The collaboration encouraged staff to work in a team with colleagues based in other museums and experiment with developing different narratives through a series of projects.

The project generated tangible outputs: an e-book connected to a puzzle, a video game and a common website became the places where museums involved commenced a dialogue with visitors.

 

http://www.noveinstoria.it/

Museomix

Museomix, France

Museomix at the Musee des Sports, Nice 2015 © Museomix Azur

Museomix is the first international cultural makeathonthat mixes skills and insights. Museomix is a gathering of mediators,tinkerers, designers, developers, graphics, designers, communicators, artists,writers, and scientists at the heart of a museum to experiment and connecttogether. Museomix is a 3-day creative sprint to invent, design, prototypeand test innovative museum installations with new technologies. Museomixtakes place every year in a different museum including countries such asFrance, UK, Belgium, Mexico and Canada. Since 2011, 26 museums havebeen museomixed and 10 museomix local communities have been createdas a result.

www.museomix.fr

NIGHTWATCHERS

Tower of London (Historic Royal Palaces), UK

Nightwatchers is a unique after-hours experience at the Tower of London, which asks questions about the nature of state surveillance and the fine line between privacy and security. Taking the emergence of the Elizabethan spy network – in which the Tower played a central role – as its starting point, it takes participants on a journey from the past to our
contemporary world.

The aim of the project was to attract a new audience: London-based, culturally curious audience, primarily though not exclusively 25-40 years old, and to offer an immersive, sector-leading learning experience through immersive and creative technology; and to enable participants to make personal connections between the past and their world today.

 

http://www.hrp.org.uk/nightwatchers

Collaboration: Exhibition and workshops series with Radiona.org

Technical Museum (Tehnicki Muzej) / Radiona.org, Croatia

type3-5

Technical Museum ‘Nikola Tesla’, was established in 1954 in Zagreb and follows in the tradition of the great science and technology museums of the world. It is the most visited museum in Croatia. The museum organises educational, study, informative and occasional exhibitions, lectures and panel discussions on popular science, as well as playrooms and workshops.

The collaboration between the museum and Radiona.org began in 2012 when Radiona.org was invited by the museum to start a collaborative project by organising a part of their education programme (2013), which included a series of workshops (with international and domestic makers) and one exhibition per year. Exhibitions so far have included: SOUNDArt / BIOArt (May 2013); Sound Hybrids / Creative Sonology; (May 2014) and Gaming Playground (May
2015). International workshops organised within the museum have included: Circuit Bending by Claude Winterberg (Switzerland), Mini MyCophone by Saša Spačal & Mirjan Švagelj (Slovenia) and Alwin Weber’s Creative Circuit Bending (Germany). There has also been series of workshop for children titled “Blink! Blink!” by Deborah Hustić.

 

http://tehnicki-muzej.hr/en/