We’ve Covered Drucker’s Seven Sources Of Opportunity

At this point in the course we have completed laying the building blocks of the course. We’ve covered Drucker’s Seven Resources of Opportunity, Business Concepts, Business Models, and we likened digital business platforms of last night now. This week we begin with the Computing Section (History, Evolution, Internet Computing). The primary idea is to observe and discuss the advancement of computing and we will discuss specific processing components and terminologies. You’ll see that we’ll find out about the size, day-computer processors velocity and power of modern. Lastly, we will start to look at changes, issues, and future trends in the computing industry. 1. Maintain your eyes and ears open for about 10 minutes.

The piece was evocative not merely for the average person participants but for everyone walking through the museum alongside the participants–, and probably, for the majority of you, who are imagining what this might feel just like just. This kind of intimacy has power partly because it’s more personal and vulnerable than the typical techniques museum staff members build relationships with program participants. Eric: Initially it was a little bit intimidating-all these looks that you will get from patrons, the regulars especially. You can tell they are wondering why you are here however they don’t necessarily want to articulate it, and that means you just understand this weird vibe.

You know, I’m standing there and I’ve got my sign-in sheet, but it appears a bit trivial. Mark: Right, as if you evidently have authorization to be there, but you are not part of the Museum quite. Eric: Exactly. But I think there’s an improvement between something being difficult then one being a nagging problem.

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The difficulty is nearly as much an integral part of the event as walking through the gallery. Mark: Right. This piece is a critique of those pieces: those parts are an unfortunate simulacrum of a human relationship in the museum; this piece is about real engagement. Eric: Absolutely. And it acquired as much regarding my evolution much like the audience. I think there’s a skill to having the ability to put someone relaxed really.

It got easier for me, getting that comfort and ease and the self-confidence to state, “Here I am. I’m part of the space. This section really extended my thinking, especially as I am trying to encourage my staff and interns never to always design for “maximal participation” but to also think about opportunities for seductive, surprising, and personal occasions.

It can get so easy to slip into “let’s make a festival” setting and skip the opportunities for secrets in the elevator. Again, I’d love to see some evaluative research of this intimacy–perhaps to set the artists with social researchers who measure social impact or development in the perception of the institution over time based on small and distributed changes.

There are many people learning the audience for participatory work–especially online–and it might be fascinating to understand more about the ripple effects of these projects on the broader visitor bottom. Who Is the owner of the ongoing work? There are a few exciting parts about intellectual and artistic property sprinkled throughout the written publication. Among the reasons I feel strongly that museum staff should assume their own creative agency to generate experimental public engagement projects is because then your museum owns the task and it can grow, perpetuate, and shift over time. That isn’t always true when you use artists (or consultants). I always get worried that the mindshare–and the related products–will walk out the hinged door when the agreement ends.

Take the lowly table tennis desk. Elizabeth Cline, the Hammer’s open public engagement curatorial affiliate, talked with Mark about their different perspectives on the ping-pong dining tables that Machine Project installed on the Lindbrook Terrace. Elizabeth: A few of what the offer was requesting to do was to build up projects that, in the final end, the Museum could have used or to create ideas that people could have applied in a few real way again in the foreseeable future. So I feel like the Museum must have inherited the Ping-Pong tables in your Residency, with a plaque describing the work we did together through the Residency.