terça-feira, 27 de março de 2018

GASTRONOMY AS EXPERIENCE IN THE MUSEUM IN CULTURE, EXHIBITIONS, MANAGEMENT, MUSEUM, OPINION, HERITAGE. · - GASTRONOMÍA COMO EXPERIENCIA EN EL MUSEO en CULTURA, EXPOSICIONES, GESTIÓN, MUSEO, OPINIÓN, PATRIMONIO. ·

We will try to explain what results from the possible combination between museums and the culinary interests of their visitors. On the other hand, we will focus on the concept of heritage tourism, a leisure activity that we could define as "traveling to experience the places, objects and activities that authentically represent the stories and people of the past". Heritage tourism can include cultural, historical and natural resources.



Research shows that tourists constitute a large part of the influx of visitors to our museums. These are currently experiencing, and increasingly, a paradigm shift in which the institution is moving away from collections to focus more on people. The transformation has led museums to reconsider the effectiveness of current programming and how to manage it properly. In "The Manual of Museum Management" (Lord and Lord, 2014), it is suggested that "there are two characteristics that characterize the successful management of public programs: visitor receptivity and creativity". Starting from this statement we will try to understand the phenomenon of including multisensory sensations in visits to historical museums, fundamentally from the tasting of food.

Culinary tourism is defined as "the search and enjoyment of unique and memorable experiences tasting food and beverages"; We are talking about one of the fastest growing areas in the tourism industry. More and more money is spent on experiencing gastronomy. Scholars suggest that memorable experiences of food and drink contribute significantly to the motivation and behavior of the trip and influence how tourists experience a tourist destination. Culinary tourism has become a powerful tool to promote an area or region. According to Michael Dietler in "Culinary Encounters: Food, Identity and Colonialism," "postmodernists have portrayed food as" embodied material culture "and suggest that social and cultural identities can be expressed through them." Food plays a central role in cultural heritage tourism and is the main motivator of travel in the last decade. There has been a growing interest in the promotion of culinary tourism in many areas of the world that were traditionally not known for good cooking (England, p. or a clear culinary identity has been created in places like Australia, Canada and the United States. By developing and promoting culinary tours, regions can define themselves culturally, thanks to the connection between food and the local community. Gastronomy can be identified as a cultural symbol of a certain area, which determines the way in which tourists experience both the local culture and the destination.

If we talk about the combination between museums and gastronomy, there are many different ways in which we can experiment: conferences, tour, consultations / debates, audio guides, etc. The conference style course is designed to create an interpretative framework providing the visitor with contextual information while viewing the contents on display. The visitor acquires a passive role, may not be committed or motivated to learn the material that is presented. The consultation / discussion tour allows visitors to respond to questions posed by the teacher, usually addressed to younger audiences, although this form of tour has proven to be successful also with the adult audience. Research concludes that questions help to process and retain more information and encourage greater learning through the participatory nature of the discussion / investigation.

When a person visits a museum, he does so by crossing three factors, which John Falk and Lynn Dierking refer to in "The Museum Experience Revisited," which are: personal, sociocultural and physical contexts. The personal context refers to the relationship of a person with the museum in general and specifically; It also defines why the individual chose to visit that museum as well as their preferred personal learning modes. These characteristics shape what the person looks for in terms of satisfaction, what they enjoy and appreciate about the visit and what makes up their personal agenda.

The sociocultural context defines the person in a broader context, depending on each person's cultural background, including ethnic origin, socioeconomic level and country of origin. Its relationship with the museum and its contents may differ from those of the museum staff, whose own personal and sociocultural contexts mark what is relevant and worthy of care, preservation and interpretation.

Finally, the physical context includes the architecture, the "feel" of the building and the objects themselves. A subcategory of the physical context is time, which refers to how long we are in the museum, how much we hope to devote to the tour and how long we are willing to stay in the museum. This aspect of the Contextual Model is crucial because leisure time and activities are dictated by the first three contexts, which impact on how a person chooses to spend their time. While the leisure period is traditionally associated with relaxation, an increasing percentage of people choose to get rich and rejuvenated through their immersion in new ideas, spaces and experiences.

As visits to museums become more personalized (or should be), the visitor goes from observing "something" to becoming "someone" through their experience. Multisensory visits, which depend on the interaction of the visitor with the content, can provide a more individualized experience. Memories of long-term museums are not limited to exhibitions and objects, but are often linked to the sense of participation. In "Investigating the Role of Emotion" in Science Center Visitor Learning, a study was made of twenty-two museum visitors led by John Falk and Katie Gillespie, and it was discovered that four main factors influenced their memory: novelty, motivations / expectations related to the identity, emotion / affection and trial. Museums offer an environment in which objects, events, images and novel ideas can be supported with interpretive materials, such as information media, media and knowledgeable personnel. In addition, they can generate satisfactory emotional experiences, which are often recounted later, which reinforces the formation of memory.

Multisensory tours have the ability to positively benefit museum visitors who are not visual learners and prefer to experience other sensory experiences. According to art educator Viktor Lowenfeld, there are two types of people: visual learners and "haptic" learners, the latter need tactile stimuli or synaesthesia to function in the world. John Falk and Lynn Dierking conducted a study on 2,000 visitors and discovered that sensory experiences of smell, light and touch were retained by anchoring themselves in the memory of visitors. Another similar study conducted a few years ago showed us that 70% of the participants rated "active and practical activities" as "very important" for their learning and experience. Falk and Dierking concluded that "vision, smells and sounds combine to create memorable experiences that can last for a long time and possibly exert a transformative effect on the participants".

The Lower East Side Tenement Museum in New York City was founded in 1988 with the mission of telling the stories of immigrant families who once lived on the Lower East Side. The museum already had several walking tours when the museum's vice president of education, Annie Polland, decided to design a new one; one that will tell stories of immigrants through food. He felt that this experience was necessary for a more complete understanding of the "day-to-day life of these immigrants." Adam Steinberg, supervisor of the walking tours of the museum, was chosen to design the new food-based excursion, which was launched in June 2011.

Together with his team, Steinberg discovered that "the immediacy of the memories from the food would move the visitors towards an extensive academic field in the history of the food culture of the immigrants". The tour was designed to walk and eat for two hours on the West Side of New York. During that time, Steinberg asked visitors to share their own memories of food with the rest of the participants. This activity "put everyone in a good mood, encouraged them to share stories and dialogue during the tour, [and] it was determined as the central theme of the tour, because almost all the favorite childhood memories were about a family event related to food in house on special occasions. " Steinberg came to two conclusions from the development of the tour: one, the tour should question the idea of ​​"authenticity" and two, "we all have different memories and feelings about the food we eat, so not necessarily two people get to have the same experience eating the same dish ". Any museum can schedule food-based walking tours and get involved in the culinary tourism trend.

Walking tours that can be organized by historical based museums based on food are financially successful. On the other hand, solid relationships are created between visitors and institutions, as well as collaboration between the museum and local catering companies.

Based on the results of some of the studies we have had access to, it is recommended that when planning a guided tour of historical museums based on food, staff collaborate with local restaurants, families and artists; design walking tours that are at least one or two hours long and start and end at the museum; use the buses when the desired travel destinations are more than five kilometers away from the institution and, finally, offer free entrance to the museum (if possible).

RESOURCE:
Claire E. Aldenhuysen (2016): Food for Thought: Emergence of Food-Based Historical Museum Walking Tours. Washington State University, Seattle (USA):






Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.
Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing







--es
GASTRONOMÍA COMO EXPERIENCIA EN EL MUSEO en CULTURA, EXPOSICIONES, GESTIÓN, MUSEO, OPINIÓN, PATRIMONIO. ·

Intentaremos explicar qué resulta de la posible combinación entre los museos y los intereses culinarios de sus visitantes. Por otro lado, nos enfocaremos en el concepto del turismo patrimonial, una actividad de ocio que podríamos definir como “viajar para experimentar los lugares, objetos y actividades que representan auténticamente las historias y las personas del pasado”. El turismo patrimonial puede incluir recursos culturales, históricos y naturales.

Las investigaciones nos muestran que los turistas constituyen una gran parte de la afluencia de visitantes a nuestros museos. Éstos experimentan actualmente, y cada vez más, un cambio de paradigma en el que la institución se está alejando principalmente de las colecciones para centrarse más en las personas. La transformación ha llevado a los museos a reconsiderar la eficacia de la programación actual y cómo administrarla apropiadamente. En “The Manual of Museum Management” (Lord y Lord, 2014), se sugiere que “hay dos características que caracterizan la gestión exitosa de los programas públicos: la receptividad y la creatividad del visitante”. Partiendo de este enunciado intentaremos comprender el fenómeno de incluir las sensaciones multisensoriales en las visitas a museos históricos, fundamentalmente a partir de la degustación de alimentos.

El turismo culinario se define como “la búsqueda y el disfrute de experiencias únicas y memorables probando alimentos y bebidas”; estamos hablando de una de las áreas de mayor rápido crecimiento en la industria del turismo. Cada vez se gasta más dinero en experimentar la gastronomía. Los académicos sugieren que las experiencias memorables de comida y bebida contribuyen significativamente a la motivación y el comportamiento del viaje e influyen en cómo los turistas experimentan un destino turístico. El turismo culinario se ha convertido en una herramienta poderosa para promover una zona o región. Según Michael Dietler en “Encuentros culinarios: alimentación, identidad y colonialismo”, “los posmodernos han retratado los alimentos como “cultura material incorporada” y sugieren que las identidades sociales y culturales pueden expresarse a través de ellos”. La alimentación desempeña un papel central en el turismo de patrimonio cultural y supone el principal motivador de viajes en la última década. Ha habido un interés creciente en la promoción del turismo culinario en muchas áreas del mundo que tradicionalmente no eran conocidas por la buena cocina (Inglaterra, p.e.); o se ha llegado a crear una identidad culinaria clara en lugares como Australia, Canadá y Estados Unidos. Desarrollando y promoviendo tours culinarios, las regiones pueden definirse a sí mismas culturalmente, gracias a la conexión entre los alimentos y la comunidad local. La gastronomía puede identificarse como un símbolo cultural de un área determinada, lo que determina la forma en que los turistas experimentan tanto la cultura local como el destino.

Si hablamos de la combinación entre museos y gastronomía, hay muchas formas diferentes en las que podemos experimentar: conferencias, recorrido, consultas/debates, guías de audio, etcétera. El recorrido estilo conferencia está diseñado para crear un marco interpretativo proporcionando al visitante información contextual mientras visualiza los contenidos en exposición. El visitante adquiere un papel pasivo, pudiendo no estar comprometido ni motivado para aprender del material que se le presenta. El recorrido de consulta/discusión permite que los visitantes respondan a preguntas planteadas por el docente, por lo general dirigidas a las audiencias más jóvenes, si bien, esta forma de recorrido ha demostrado ser exitosa también con el público adulto. Las investigaciones concluyen que las preguntas ayudan a procesar y retener más información y fomentan un mayor aprendizaje a través de la naturaleza participativa de la discusión/investigación. 

Cuando una persona visita un museo, lo hace a través del cruce de tres factores, a los que John Falk y Lynn Dierking se refieren en “The Museum Experience Revisited”,que son: contextos personales, socioculturales y físicos. El contexto personal se refiere a la relación de una persona con el museo en general y específicamente; también define por qué el individuo eligió visitar ese museo así como sus modos de aprendizaje personales preferidos. Estas características dan forma a lo que la persona busca en términos de satisfacción, lo que disfruta y aprecia de la visita y lo que conforma su agenda personal.

El contexto sociocultural define a la persona en un contexto más amplio, dependiendo de los antecedentes culturales de cada uno, incluidos el origen étnico, el nivel socioeconómico y el país de origen. Su relación con el museo y sus contenidos puede diferir de los del personal del museo, cuyos propios contextos personales y socioculturales marcan lo que es relevante y digno de cuidado, preservación e interpretación.

Finalmente, el contexto físico incluye la arquitectura, la “sensación” del edificio y los objetos mismos. Una subcategoría del contexto físico es el tiempo, que se refiere a cuánto tiempo estamos en el museo, cuánto esperamos dedicar al recorrido y cuánto tiempo estamos dispuestos a permanecer en el museo. Este aspecto del Modelo Contextual es crucial porque el tiempo de ocio y las actividades son dictadas por los primeros tres contextos, que impactan en cómo una persona elige pasar su tiempo. Si bien el período de ocio se asocia tradicionalmente con la relajación, un porcentaje cada vez mayor de personas elige enriquecerse y rejuvenecerse a través de su inmersión en nuevas ideas, espacios y experiencias.

A medida que las visitas a los museos se vuelvenmás personalizadas (o deberían serlo), el visitante pasa de observar “algo”, a convertirse en “alguien” a través de su experiencia. Las visitas multisensoriales, que dependen de la interacción del visitante con el contenido, pueden proporcionar una experiencia más individualizada. Los recuerdos de museos a largo plazo no se limitan a exposiciones y objetos, sino que a menudo están ligadas a la sensación de participación. En “Investigar el papel de la emoción” en Science Center Visitor Learning, se hizo un estudio sobre veintidós visitantes museo conducidos por John Falk y Katie Gillespie, y se descubrió qué cuatro factores principales influían en su memoria: novedad, motivaciones/expectativas relacionadas con la identidad, emoción/afecto y ensayo. Los museos ofrecen un entorno en el que los objetos, eventos, imágenes e ideas novedosas se pueden apoyar con materiales interpretativos, como soportes de información, medios y personal con conocimiento. Además, pueden generar experiencias emocionales satisfactorias, que a menudo se vuelven a narrar después, lo que refuerza la formación de la memoria.


Los recorridos multisensoriales tienen la capacidad de beneficiar positivamente a los visitantes del museo que no son aprendices visuales y prefieren vivir otras experiencias sensoriales. Según el educador de arte Viktor Lowenfeld, hay dos tipos de personas: aprendices visuales y aprendices “hápticos”, estos últimos necesitan estímulos táctiles o la sinestesia para funcionar en el mundo. John Falk y Lynn Dierking realizaron un estudio sobre 2.000 visitantes y descubrieron que las experiencias sensoriales de olor, luz y tacto se retenían anclándose en la memoria de los visitantes. Otro estudio similar realizado hace ya unos cuantos años nos mostraba que el 70% de los participantes calificaban las “actividades activas y prácticas” como “muy importantes” para su aprendizaje y experiencia. Falk y Dierking concluyeron que “la visión, los olores y los sonidos se combinan para crear experiencias memorables que pueden tener larga duración y posiblemente ejercer un efecto transformador en los participantes “.

El Lower East Side Tenement Museum en la ciudad de Nueva York fue fundado en 1988 con la misión de contar las historias de las familias inmigrantes que alguna vez vivieron en el Lower East Side. El museo ya tenía varios recorridos a pie cuando el vicepresidente de educación del museo, Annie Polland, decidió diseñar uno nuevo; uno que narrara historias de los inmigrantes a través de la comida. Consideraba que esta experiencia era necesaria para una comprensión más completa de la vida “dell día a día de estos inmigrantes”‘. Adam Steinberg, supervisor de los programas de excursiones a pie del museo, fue elegido para diseñar la nueva excursión, basada en alimentos, que se lanzó en junio de 2011.

Junto a su equipo, Steinberg descubrió que “la inmediatez de los recuerdos a partir de la comida trasladaría a los visitantes hacia un extenso campo académico en la historia de la cultura alimenticia de los inmigrantes”. El recorrido fue diseñado para caminar y comer durante dos horas por el West Side de Nueva York. Durante ese tiempo, Steinberg pidió a los visitantes que compartieran con el resto de participantes sus propios recuerdos sobre comida. Esta actividad “puso a todos de buen humor, los animó a compartir historias y dialogar durante el recorrido, [y] se determinó como el tema central del recorrido, porque casi todos los recuerdos infantiles favoritos eran sobre algún hecho familiar relacionado con la comida en casa en ocasiones especiales”. Steinberg llegó a dos conclusiones a partir del desarrollo del recorrido: uno, la gira debería cuestionar la idea de “autenticidad” y dos, “todos tenemos diferentes recuerdos y sentimientos sobre los alimentos que comemos, por lo que no necesariamente dos personas llegan a tener la misma experiencia comiendo el mismo plato”. Cualquier museo puede programar recorridos a pie basados ​​en alimentos e involucrarse en la tendencia del turismo culinario.


Los recorridos a pie que pueden organizar los museos de base histórica basándose ​​en alimentos son financieramente exitosos. Por otro lado, se crean relaciones sólidas entre los visitantes y las instituciones, así como de colaboración entre el museo y las empresas locales de hostelería.

En base a los resultados de algunos de los estudios a los que hemos tenido acceso, se recomienda que al planificar una visita guiada de museos históricos basada en alimentos, el personal colabore con los restaurantes, familias y artistas locales; diseñe recorridos a pie que tengan al menos una o dos horas de duración y que comiencen y terminen en el museo; utilicen los autobuses cuando los destinos deseados del recorrido estén a más de cinco kilómetros de distancia de la institución y, para finalizar, ofrezcan entrada gratuita al museo (si fuera posible).

RECURSO:

Claire E. Aldenhuysen (2016): Food for Thought: Emergence of Food-Based Historical Museum Walking Tours. Universidad del Estado de Washington, Seattle (EE.UU):

https://evemuseografia.com/2018/03/27/gastronomia-como-experiencia-en-el-museo/










Sustainable Museums. See you in 2040 ! Tweetchat On March 29th, 3pm EST. - Museus Sustentáveis. Vejo você em 2040 !

Strategies for museums committed to fostering environmental sustainability, responding to Climate Change, and supporting the UN Sustainable Development Goals.

Tweetchat Invitation: Building on Museum 2040.

Would you like to follow a discussion on Museums 2040, and a scenario "A New Equilibrium"? How about specifically the exploration of museums' response to climate change effects? Then please join a 

                      Tweetchat On March 29th, 3pm EST.



The event is hosted by the Center for the Future of Museums' Elizabeth Merritt, with a few of the authors from the Museum 2040 issue chiming in on their topics.

I'll be there, and this is the stream you can explore, and work off of, for Climate:

Q4: @sarahsutton’s article in Museum 2040 sees a future in which museums are major influencers when it comes to climate resilient. What real-life museums are already helping their communities plan how they will adapt to climate change?

Example A4: The @museumofnaz devoted several of their Future of the Colorado Plateau Forums to community discussions of climate change, including water needs and impact on tourism and recreation.

The focus is museums in 2040, so the chat is not just about Climate, but also museums' roles in addressing truth and reconciliation, new governance approaches, and potential hybrid designs of institutional formats. 

Bring your ideas, questions, and open mind as we chat about the future. 

The link above provides a format for the discussion, some background, and, if you haven't participated in a Tweetchat before, or used Twitter, instructions for joining the conversation.

See you in 2040!



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Tweetchat alert! Building on Museum 2040.

I’m writing to invite you to contribute to our ongoing exploration of this future in a CFM tweetchat next Thursday, March 29, from 3 – 4 pm ET, hashtag #Museum2040.

CFM’s most recent publication is the “future” issue of Museum magazine we published last November. Much of the content for Museum 2040 was crowdsourced via a call for authors through the Alliance’s professional networks. The writers based their pieces of future fiction on a CFM scenario called “A New Equilibrium,” which explores the future we might find ourselves living in if current trends in the economy, policy, culture, etc., continue on their current course.

I’m getting ready to publish the scenario itself as part of a planning tool for museums. Just as this story of the future inspired our authors to envision how museums can thrive in coming decades, A New Equilibrium, along with other scenarios we’re creating this year, will help museum boards and staff, as well as funders and stakeholders, “futureproof” their planning.

Here’s where you come in: next week’s Tweetchat will invite you to contribute content we’ll use to round out and enliven the scenario. Posed in traditional tweetchat format, the questions will be:

Q1: What’s a headline you can imagine reading in 2040, that captures an important aspect of this future?
Example A1: In This Small Town, Most Toddlers Attend Preschool in the Local Museum

Q2: Tweet something you overhear in 2040: could be in the board room, in the exhibit gallery, online. (OH is tweet-speak for “overheard.”)
Example A2: OH this morning in the coffee shop “I told my doctor I was feeling down all the time. He prescribed 3 hours a week at the art museum. So I’m asking my insurance company to cover it…”

Q3: @adamrozan’s article in Museum 2040 envisions the rise of “hybrid organizations” that incorporate elements of museums, schools, wellness centers, eldercare, social service providers, houses of worship, and more. What real-life museums are already exploring this “hybrid” future?
Example A3: The Museum of Street Culture in Dallas runs a homeless services agency called the Stewpot.

Q4: @sarahsutton’s article in Museum 2040 sees a future in which museums are major influencers when it comes to climate resilient. What real-life museums are already helping their communities plan how they will adapt to climate change?
Example A4: The @museumofnaz devoted several of their Future of the Colorado Plateau Forums to community discussions of climate change, including water needs and impact on tourism and recreation.

Q5: @oeatonmartinez’ article in Museum 2040 explores museums’ role in truth and reconciliation in the US. What real-life museums are fostering dialogue around the US’s history of oppression?
Example A5: the @EJI_org’s new Legacy Museum:  From Enslavement to Mass Incarceration, explores the evolution of racial terror lynchings and legalized racial segregation and racial hierarchy in America. 

You can read the scenario synopsis before the chat, and/or revisit Museum 2040 to put your brain in the right time frame. When I’m getting ready to participate in other tweetchats, I like to write some of my answers in advance, so I can easily copy and paste them into Twitter during the live conversation.

And, of course, you can use #Museum2040 to tweet me any replies or examples you have to share between now and 3 p.m. on March 29.

I look forward to seeing your tweets about this future!

A Quick primer on Tweet Chats
If you don’t already have a Twitter account, visit twitter.com and set one up.
Sign up to “follow” CFM (Twitter name @futureofmuseums.) Ok—you don’t have to do this to join the TweetChat, but do it anyway.
You can participate in the tweet chat by following @futureofmuseums on Twitter, and responding to the questions as I tweet them, or by creating a search for #Museum2040
Another way to participate is to use a platform called TweetChat. Before the Tweet Chat starts at 3 p.m. Thursday, March 29, sign in to the TweetChat site using your Twitter name and password, and enter the hashtag #Museum2040 when directed. This will take you to a “dedicated chat room” that makes it easier to follow the conversation, and will automatically attach the #Museum2040 hashtag to any tweet you contribute to the conversation

At 3 p.m. I will throw out the first question for discussion (Q1), and the conversation will be underway. During the next hour, I will tweet the other questions. If you are responding to a particular question, prefacing your tweet with the corresponding answer number (e.g., A1), makes the conversation easier to follow.










Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.
Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing





--br via tradutor do google
Museus Sustentáveis. Vejo você em 2040!

Estratégias para museus comprometidos com a promoção da sustentabilidade ambiental, respondendo às mudanças climáticas e apoiando os Objetivos de Desenvolvimento Sustentável da ONU.

Convite do Tweetchat: Building on Museum 2040.

Gostaria de acompanhar uma discussão sobre Museus 2040 e um cenário "Um Novo Equilíbrio"? Que tal especificamente a exploração da resposta dos museus aos efeitos das mudanças climáticas? Então, por favor, junte-se a um Tweetchat em 29 de março, às 15h EST.

O evento é organizado pelo Centro para o Futuro dos Museus, Elizabeth Merritt, com alguns dos autores da edição do Museu 2040 abordando seus tópicos.

Eu estarei lá, e esta é a corrente que você pode explorar e trabalhar para o clima:

Q4: o artigo de @ sarahsutton no Museum 2040 mostra um futuro em que os museus são os principais influenciadores quando se trata de resiliência climática. Que museus da vida real já estão ajudando suas comunidades a planejar como se adaptarão às mudanças climáticas?

Exemplo A4: O @museumofnaz dedicou vários de seus Fóruns sobre o Futuro do Planalto do Colorado às discussões da comunidade sobre mudanças climáticas, incluindo necessidades de água e impacto no turismo e recreação.

O foco são os museus em 2040, de modo que o bate-papo não é apenas sobre o clima, mas também o papel dos museus em abordar a verdade e a reconciliação, novas abordagens de governança e possíveis projetos híbridos de formatos institucionais.

Traga suas ideias, perguntas e mente aberta enquanto conversamos sobre o futuro.

O link acima fornece um formato para a discussão, algum plano de fundo e, caso você não tenha participado de um Tweetchat antes, ou tenha usado o Twitter, instruções para participar da conversa.

Vejo você em 2040!


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Alerta do Tweetchat! Construindo no Museu 2040.

Estou escrevendo para convidá-lo a contribuir para a nossa exploração contínua deste futuro em um tweetchat do CFM na próxima quinta-feira, 29 de março, das 13:00 às 16:00 ET, na hashtag # Museum2040.

A publicação mais recente do CFM é a edição “futura” da revista Museum, publicada em novembro passado. Grande parte do conteúdo do Museum 2040 foi divulgado por meio de uma ligação para autores através das redes profissionais da Alliance. Os escritores basearam suas peças de ficção futura em um cenário de CFM chamado “Um Novo Equilíbrio”, que explora o futuro em que poderíamos nos encontrar vivendo se as tendências atuais da economia, política, cultura, etc., continuarem em seu curso atual.

Estou me preparando para publicar o cenário em si como parte de uma ferramenta de planejamento para museus. Assim como essa história do futuro inspirou nossos autores a imaginar como os museus podem prosperar nas próximas décadas, Um Novo Equilíbrio, juntamente com outros cenários que estamos criando este ano, ajudará os conselhos e funcionários de museus, bem como financiadores e interessados ​​” futureproof ”seu planejamento.

É aqui que você entra: o Tweetchat da semana que vem o convidará a contribuir com conteúdo que usaremos para finalizar e animar o cenário. Posto no formato tradicional do tweetchat, as perguntas serão:

Q1: Qual é a manchete que você pode imaginar lendo em 2040, que captura um aspecto importante desse futuro?
Exemplo A1: Nesta pequena cidade, a maioria das crianças freqüenta a pré-escola no museu local

Q2: twittar algo que você ouve em 2040: pode estar na sala de reuniões, na galeria de exibições, online. (OH fala em tweets para "ouvir")
Exemplo A2: OH esta manhã no café “Eu disse ao meu médico que estava me sentindo para baixo o tempo todo. Ele prescreveu 3 horas por semana no museu de arte. Então, estou pedindo à minha seguradora para cobrir isso ... ”

P3: O artigo do @ adamrozan no Museu 2040 prevê o surgimento de “organizações híbridas” que incorporam elementos de museus, escolas, centros de bem-estar, idosos, provedores de serviços sociais, igrejas e muito mais. Que museus da vida real já estão explorando esse futuro “híbrido”?
Exemplo A3: O Museu da Cultura da Rua, em Dallas, administra uma agência de serviços para moradores de rua chamada de Stewpot.

Q4: o artigo de @ sarahsutton no Museum 2040 mostra um futuro em que os museus são os principais influenciadores quando se trata de resiliência climática. Que museus da vida real já estão ajudando suas comunidades a planejar como se adaptarão às mudanças climáticas?
Exemplo A4: O @museumofnaz dedicou vários de seus Fóruns sobre o Futuro do Planalto do Colorado às discussões da comunidade sobre mudanças climáticas, incluindo necessidades de água e impacto no turismo e recreação.

Q5: o artigo do @oeatonmartinez no Museu 2040 explora o papel dos museus na verdade e na reconciliação nos EUA. Que museus da vida real estão fomentando o diálogo em torno da história de opressão dos EUA?
Exemplo A5: o novo Legacy Museum do @ EJI_org: From Enslavement to Mass Incarceration, explora a evolução dos linchamentos do terror racial e da segregação racial legalizada e da hierarquia racial na América.

Você pode ler a sinopse do cenário antes do bate-papo e / ou revisitar o Museu 2040 para colocar seu cérebro no tempo certo. Quando estou me preparando para participar de outros tweets, gosto de escrever algumas de minhas respostas com antecedência, para que eu possa copiá-las e colá-las facilmente no Twitter durante a conversa ao vivo.

E, claro, você pode usar o # Museum2040 para tweetar-me quaisquer respostas ou exemplos que você tenha que compartilhar entre agora e 15h. em 29 de março.

Estou ansioso para ver seus tweets sobre esse futuro!

Uma cartilha rápida no Tweet Chats
Se você ainda não tem uma conta no Twitter, acesse twitter.com e configure uma.
Inscreva-se para "seguir" CFM (nome do Twitter @futureofmuseums.) Ok, você não precisa fazer isso para participar do TweetChat, mas faça isso de qualquer maneira.
Você pode participar do bate-papo do tweet seguindo @futureofmuseums no Twitter e respondendo às perguntas que eu twittei, ou criando uma pesquisa para # Museum2040

Outra maneira de participar é usar uma plataforma chamada TweetChat. Antes do Tweet Chat começa às 15:00. Na quinta-feira, 29 de março, faça login no site do TweetChat usando seu nome e senha do Twitter e insira a hashtag # Museum2040 quando instruído. Isso levará você a uma "sala de bate-papo dedicada" que facilitará o acompanhamento da conversa e anexará automaticamente a hashtag # Museum2040 a qualquer tweet que você contribuir para a conversa

Às 3 da tarde. Vou jogar a primeira pergunta para discussão (Q1) e a conversa estará em andamento. Durante a próxima hora, vou twittar as outras perguntas. Se você estiver respondendo a uma pergunta específica, prefaciar seu tweet com o número de resposta correspondente (por exemplo, A1) facilitará a conversa.