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Note: Each chapter will have several associated activities.  The activities are concrete things museum staff can do to plan and implement participatory design.  Some will be creative/evocative (i.e. talk to visitors) and others will be more specific (i.e. fill out this survey).  The goal is for the activities to tie the book to an active (and ongoing) community of practice.


  1. Introduction: Why the Participatory Museum? (note: the version as it now stands needs reworking.  May just start with Chapter 1.)
    1. What it means
    2. What it can mean
    3. What unique value does it have for museums?
      1. bring people in (visitor voices list)
      2. deliver on town square mission
      3. audience development
    4. How to talk about it with your boss
    5. How to use this book
    6. A note on technology (this is not a book about technology, but it uses technology projects as design models and examples)
  2. Chapter 1: What is Design for Participation? How is it different from other kinds of design?
    1. yes, it really is design
      1. approach the way you would approach didactic or interactive design
      2. difference between participatory design (process) and design for participation (product)
    2. serves different needs
      1. audience side: engaging diverse kinds of participants
      2. institutional side: setting up sensible use cases
    3. there are design frameworks and patterns that will be explored in this book
    4. Me-to-We introduction
      1. example: Nike +
  3. Chapter 2: Participation Begins with "Me"
    1. conceptual framework: asserting visitor as a partner in the experience
      1. personalization establishes identity
      2. need personal identity to be part of social dialogue
    2. constructing in-museum profiles
      1. self-identifying via wearables
      2. "you are what you do" profiles
      3. keeping profiles flexible and generous to users
      4. ACTIVITY: profile-maker
    3. personalized starting points
    4. tours and recommendation engines
    5. deeper ongoing (repeat and member) engagement
      1. take-homes and cross-platform experiences
      2. loyalty cards and growth memberships
  4. Chapter 3: from me to we - networking individual behavior
    1. Conceptual framework: network effects
    2. The difference between networked and social platforms
      1. Anne Frank House Free2Choose
      2. Activity: TAKE IT UP A NOTCH
    3. Programs and Low-tech physical social networks
      1. Living Library
      2. Race pointiness
    4. embuing platforms with values
      1. Scratch
      2. Signtific
    5. Platforms and power - what you can and can't control
  5. Chapter 4: social objects in museums - inviting object-mediated experiences
    1. Conceptual framework: what is a social object?
      1. Activity: Social object hunt - finding pre-existing social objects and identifying what makes them tick.
    2. To activate existing objects as social objects, you need to design platforms and tools that render them social.
      1. Juxtaposition is a tool that puts objects in dialogue with each other.
      2. Instructions or rules sets are tools that encourage visitors to engage in specific ways relative to objects.
      3. Questions are tools that allow visitors to query objects and each other.
        1. To design a good question, make sure you care to hear its answer.
        2. The best questions connect the object experience to personal experience.
        3. Speculative questions can connect many people together in participatory responses.
        4. By thinking about your goals, you can find the right question for the task at hand.
      4. You need to be able to share objects for them to be social.
      5. Live interpretation can enhance (or hinder) objects' sociability.
      6. Activity: Energizing social objects with social platforms.
    3. DIY Social objects - You can design your own social object exhibits.
      1. Remember the rules about what makes an object social.
      2. Create the platform that accentuates sociality.
      3. visitor-contributed or generated social objects
      4. Activity: designing new social objects.
  6. Chapter 5: contribution, collaboration, co-creation, co-option
    1. In all models, need to think about institution, participants, and audience
      1. institution needs value
      2. participants need clarity and support
      3. audience need a compelling product
    2. Constrained Contributions- clear, easy, open.
      1. World Beach
      2. matching institutional goals to project type - MN150, Magnes Memory Lab
      3. participant motivation - maybe include Kerouac here, connection?
      4. modeling - Side Trip, RadioLab, From Memory to Action
      5. curating
      6. audience experience - For the Love of God, In Your Face, MN150
    3. Collaborative Partnerships - roles, mutual value. 
      1. Investigating Where We Live
      2. exhibit development process- Chabot, Yupik
      3. Tech Virtual - messy
      4. research - Lodz, Wikipedia Loves Art
      5. experiments - Sculptural Travel Bugs, Click!
      6. on the floor - WFIC RIGs, Advice
    4. Co-creation
      1. Wing Luke, community processes
      2. programs - YES, Day of the Dead
      3. platforms - SF0
    5. Co-option
      1. deeper engagement - Sound Off!
      2. giving community a space - Brooklyn and Detroit Historical Societies
      3. co-opt programs - gaming in libraries
      4. 888 case study - complicated value proposition
    6. Activity: picking the right model
  7. Chapter 6: Pitching, Managing, and Evaluating Participatory Projects 
    1. we've focused on design and creation, now we look at how to take care of the store
    2. new delivery mechanism supports multiple types of content sharing and redistribution - find the one that works for your institution
    3. Pitching: Matching mission to participatory model
      1. Metaphorical design - finding examples of participation in everyday life
      2. Institutional match - what is your style and what fits into that
        1. pick your participatory battles to fit with institutional behavior
        2. roles for staff, participation is for them too
        3. learn to speak the mission fit
        4. how does this enhance core businesses? (1stfans, COSI)
    4. Managing
      1. different operations: tend the garden instead of producing the show - requires ongoing TLC
        1. San Jose Museum of Art postcards not transcribed
        2. Weston Family Innovation
        3. Wing Luke
      2. Maintain the values
        1. MN150 and Click - pick your platform battles
        2. Tech Virtual - dealing with shifting institutional priorities
        3. SF0 - when it goes in a new direction
      3. Making it work for your users
        1. Helping visitors understand and feel invited to participate
        2. Give away most fun part of your job
        3. respect your users
        4. give them a real job
        5. value their contributions in a public way
        6. reward their actions
        7. manage different levels of participation (power law)
        8. support different types of participants (creator, critic, curator, joiner, spectator)
    5. Evaluating
      1. this is a new world of behavior
      2. outputs vs outcomes
      3. evaluating processes vs products
      4. participant experience
      5. audience experience
      6. institutional experience
  8. Conclusion: Imagining the Participatory Museum


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