Online collections/classes by Andrea

Online collections/classes by Andrea https://padlet.com/inman2al/pr7xilsbzfjd en-us 2016-07-28 20:19:14 UTC 2016-08-05 20:50:54 UTC hello@padlet.com inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117156752 But there’s another kind of construction going on that tells more about where museums are at and where they are going than any shiny new edifice: their websites. That might sound surprising to anyone not professionally involved in museum work, but if you want to know how museums are changing their philosophies and programs in a time of increasing financial pressure and the continuing rise of private museums like Eli Broad’s in Los Angeles, websites are the most visible and informative places to look.

...a white paper by Michael Govan, director of the Los Angeles County Museum of Art, summing up discussions about the future of museums by art museum directors. In it he wrote, “The external force of the Internet and social media — combined with museums’ own efforts to create more interactive educational and exhibition programs — leave no doubt that the two way relationship between the museum and its audience has the potential to reshape the future of art museums in ways not yet envisioned.”

Regularly supplemented and updated, it makes art history textbooks like Janson’s nearly obsolete.]]> 2016-07-28 20:38:30 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117156752 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117156973 Going digital requires a profound rethinking of the ways in which art historical content can be interactively organized, maintained, updated, and, ultimately, used. A host of technical, legal and administrative hurdles complicates the online delivery as many museums lack the financial, technological and human resources to tackle these complex and far–reaching issues. ]]> 2016-07-28 20:45:12 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117156973 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117156998 The future of the museum may be rooted in the buildings they occupy but it will address audiences across the world - a place where people across the world will have a conversation. Those institutions which take up this notion fastest and furthest will be the ones which have the authority in the future.
Sir Nicholas Serota 2009 1

]]> 2016-07-28 20:45:59 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117156998 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117157014 The Museum was based on the practical principle that the collection should be put to public use and be freely accessible. It was also grounded in the Enlightenment idea that human cultures can, despite their differences, understand one another through mutual engagement. The Museum was to be a place where this kind of humane cross-cultural investigation could happen. It still is.

The Museum aims to reach a broader worldwide audience by extending engagement with this audience. This is engagement not only with the collections that the Museum has, but the cultures and territories that they represent, the stories that can be told through them, the diversity of truths that they can unlock and their meaning in the world today.

The Museum has continually sought to make its collections available to greater and more diverse audiences, first in London, subsequently the UK and worldwide. Over the past forty years, the increasing ease of international travel has meant not only that more visitors from abroad can come to London to use the collection, but that the collection can more easily travel to them, and be put to public use in new local contexts.

]]> 2016-07-28 20:46:31 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117157014 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117201424 Museums are poised to meet this need and eager to reach more students and

their teachers than ever before. But it will take more than simply making col-

lections available online to the masses. It requires systematic instructional

design that carefully considers the learners and the learning objectives, fol-

lowed by the consideration of the best tools to meet those objectives. This

special issue examines the current state of online learning offered by

museums, and discusses the pedagogy and practice in museum online learning.

]]> 2016-07-29 17:04:47 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117201424 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117201456 2016-07-29 17:05:42 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117201456 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117202359 For one, museum education is predicated on informal, constructivist learning approaches which encourage the learner to control their learning. Similarly, online courses allow students to go through the content at their own pace, constructing their own meaning from discussion forums, assignments and projects. Deborah Howes, Director of Digital Learning at MoMA, said, the pairing of museum education and online learning is, “conceptually, very much aligned.” She continues:

“Museum education teaching is based on the curiosity of people who come from all different walks of life and have any number of questions about what excites them. Teaching online, we offer different kinds of learning experiences–videos of behind the scenes tours, slide shows of art works, DIY experiments–and students explore this variety according to their own interests to create meaning.”

Second, museum learning is often social. Visitors come in groups, field trips, or with families to share the experience of looking at and discussing objects. Learning Management Systems like Blackboard, Moodle, and Haiku allow for similar discussions and facilitate group collaboration.

Both the MoMA and NCMA courses started because of grants from Volkswagen and Wells Fargo Foundation, respectively. Both of these grants end soon, and both institutions are seeking future funding for the growth and expansion of the courses. MoMA charges $150–200 for their self-guided course and $200–350 for their instructor-led courses. Those fees will help sustain the program, whether or not they receive a future grant. The NCMA, on the other hand, does not charge for their courses, instead, high school students receive school credit. While we encourage students to visit the NCMA to see their exhibition or attend a field trip, we don’t have additional funds to cover their travel.

]]> 2016-07-29 17:33:17 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117202359 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117203262 2016-07-29 18:01:26 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117203262 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117203338 “Most of us see it as part of a museum’s obligation in this century to make this content available in this way,” said Koven J. Smith, director of digital adaptation at the Blanton Museum of Art in Austin, Tex. “The days of art museums being reluctant to release content are drawing to a close.”

But not every museum shares that sense of obligation. Some institutions, including the French National Library, have resisted on the grounds that giving away the licensing rights erodes their authority and undercuts their control over valuable images — the most popular of which can earn essential revenue when sold for a download fee or merchandised with holiday cards and T-shirts (though the income may barely cover the administrative costs of the sales).
Inertia may also prevent museums from adopting open content. It requires no small amount of institutional will, not to mention expense, to digitize collections, post them online with identifying text and untangle the legal obstacles to open use.

]]> 2016-07-29 18:04:30 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117203338 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117203349 If C-MAP's energy can be sustained, and its purview extended, the museum has a chance of breaking out of the parochial definition of Modernism on which it was founded. MoMA is still a thoroughly 20th-century place: it buys as the market directs; its record with diversity is poor; its master narrative is obsolete. Yet a corner of the institution is showing signs of 21st-century life.

Even that cosmopolitan corner, though, has a limited reach, because it's part of a museum that a significant population of Americans, defined by class and ethnicity, will probably never visit. And that population is growing larger every year. A museum can either accept the reality of us-and-them-ism as a given, or it can try something proactive and start taking art to where people are, turn itself into a museum without walls.

]]> 2016-07-29 18:05:11 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117203349 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117203465 2016-07-29 18:09:15 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117203465 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117203564 Why Open Content?
The Getty adopted the Open Content Program because we recognized the need to share images of works of art for free and without restriction, so that all those who create or appreciate art-scholars, artists, art lovers, and entrepreneurs-will have greater access to high-quality digital images for their studies and projects. Art inspires us, and imagination and creativity lead to artistic expressions that expand knowledge and understanding. The Getty sincerely hopes that people will use the open content images for a wide range of activities and that they will share the fruits of their labors with others.]]> 2016-07-29 18:10:48 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117203564 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117205987 2016-07-29 19:32:18 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117205987 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206211 In making the announcement, Mr. Campbell said: "Through this new, open-access policy, we join a growing number of museums that provide free access to images of art in the public domain. I am delighted that digital technology can open the doors to this trove of images from our encyclopedic collection."]]> 2016-07-29 19:41:07 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206211 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206356 It is clear that what distinguishes the museum from other educational, scientific, and aesthetic organizations is its relationship with its collections. "Museums exist," writes Morris Museum Director Steven H. Miller, "because of an assumption that physical objects have value." In Museums, Objects and Collections, Susan M. Pearce writes, "The point of collections and museums . . . revolves around the possession of 'real things' and . . . essentially this is what gives museums their unique role."

But when I look at the message I get from museums on the Internet, the collection rarely sits front and centre. Many institutions still don't have their collections online, and although I realise there are often both financial and time constraints, this just reinforces my sense that the collection has fallen down the priority list.

]]> 2016-07-29 19:48:26 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206356 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206379 Triangulation
Learning online should be as inspiring and self-directed as visiting a museum, where you see and experience objects and information at your own pace. This is one reason why we often offer both instructor-led and self-guided versions of the same course. But whatever the format, our teaching method is the same: art history lectures, studio demonstrations, and introductory texts all feature similar key concepts presented and explained in different ways. That way, even if a student does not review ALL of the content in a lesson, chances are good that they will have encountered the important ideas at least once. This triangulation approach also supports a variety of learning styles: some visitors prefer hearing new information, others like to observe process, read text, or do a project. All of our audio content is captioned, which our international students and those with hearing loss greatly appreciate. As we attract students of every age and background from all over the world, we think broadly about how people learn.]]> 2016-07-29 19:49:27 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206379 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206402 Does this mean Khan Academy is competitive with museums? Maybe. More importantly, it means that we should be looking to their model to push ourselves in how we think about delivering the most engaging, powerful content possible. We often talk about museums as leaders in providing substantive, essential alternatives to formal schooling. But museums are rarely seen as pursuing this promise in the innovative, aggressive, and highly publicized way that Khan Academy is.

I asked Beth Harris and Steven Zucker about their experience working at Khan Academy after years in academia and museums. When I asked them what's in it for Smarthistory to be a part of Khan Academy, they highlighted the extent to which Khan Academy represents a revolution in education and high quality online learning experiences. Here are some of the comments on the "why" behind their involvement:

[Khan Academy has] a hugely generous vision and commitment to rethinking education-our mission is "a world-class education, for anyone, anywhere"-not to mention brilliant programmers and staff. This is an epic moment in the history of education, who wouldn't want to be part of it? We are finally leaving behind the 18th century model of education where groups of students are expected to learn at a standard pace. Every day we read about ways that teaching, learning and accreditation are being unbundled. New institutions and new, more personal modes of teaching and learning are being investigated. And we will soon know much more about learning, thanks to analytics, than we ever have before.

]]> 2016-07-29 19:50:17 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206402 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206415 2016-07-29 19:51:12 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206415 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206801 2016-07-29 20:07:25 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206801 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206822 2016-07-29 20:07:43 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206822 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206836 2016-07-29 20:08:24 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206836 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206851 But applied ethics, and museum ethics in particular, are more than a technical set of guidelines. Museums have a moral agency (Marstine 2011b: 7). They exist in a continuous dialogue with society and are complex institutions. Current research and publications in museum ethics (Marstine 2011a; Marstine et al 2011) recognize this multiplicity and complexity and encourage a more elaborate understanding of the institution and its social role. Museum codes of ethics reflect the values of the institution, but also the social contexts as well as the standards, values, norms and philosophies that determine how museums operate in accordance with their own values and those of the society to which they belong.]]> 2016-07-29 20:09:09 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206851 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206985 While the delineations above are by museum subject matter, there are also significant differences between participatory opportunities in large and small museums. Small museums are more likely to be community-oriented and to be comfortable incorporating visitor-generated content without feeling that it disrupts the overall design of the institution. However, small museums are also less likely to have staff support to maintain and sustain participatory projects over time. While large museums are often beleagured by endless committee meetings that can hinder the potential for creative new projects, when all the dotted lines are signed, the projects tend to affect more visitors than those of small museums, and may be better funded over time. Frankly, I think small museums win out on this one--ultimately, they are less focused on authoritative image than large museums and more likely to enthusiastically embrace community involvement. ]]> 2016-07-29 20:15:32 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117206985 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117207269 2016-07-29 20:24:54 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117207269 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117313674 Review and revise their ethics statements to address emerging issues. Traditional areas of concern like conflict-of-interest and provenance research may need to be expanded to include sections on internships, privacy of digital data and the ethical provenance of art displayed in the museum. Policies on individual and corporate support may need to be updated and strengthened, and museums working in the global arena may want to take a proactive stance on ethical concerns related to that work.]]> 2016-08-01 18:59:31 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117313674 http://www.moma.org/learn/index inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117625777 Professional Development Opportunities

If you are a teacher looking for professional development credit from taking an online course with MoMA, read item number one below. You can also take a free professional development course offered through MoMA’s partnership with Coursera. Read item number two below to learn how this can result in a Statement of Accomplishment.

1. MoMA.org Online Course Teacher Credit

Participating in any instructor-led version of MoMA.org online courses can result in one Professional Development credit. See MoMA.org/courseseonline for a list of current offerings. Teacher course tuition discounts are available. This professional development credit is offered through the University of Alaska Anchorage for an additional fee of $99. Learn more about PD credit for online courses.

2. MoMA/Coursera Teacher Professional Development Course

The Museum of Modern Art has partnered with Coursera, a Massive Open Online Course (MOOC) provider, to offer a free professional development course for primary and secondary teachers all over the world.

Art and Inquiry: Museum Teaching Strategies for Your Classroom is intended for teachers of grades four through 12, of all disciplines. The course introduces ways to integrate works of art into your classroom by using inquiry-based teaching methods commonly used in museum settings. This course is designed to give teachers the tools to create meaningful object-based learning activities that can be integrated into a wide variety of curricula. Go to coursera.org/MoMA to enroll. Participation in this course could lead to a Statement of Accomplishment. See coursera.org/about/terms for more information.

]]> 2016-08-05 20:48:43 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117625777 inman2al https://padlet.com/inman2al/pr7xilsbzfjd/wish/117625826 Getty Teacher Update is our free e-mail newsletter for K-12 teachers sent four times per year. It will keep you informed of resources and opportunities for you and your students at the Getty Center, the Getty Villa, and online at getty.edu. Subscribe to the Getty Teacher Update newsletter.

]]> 2016-08-05 20:50:21 UTC https://padlet.com/inman2al/pr7xilsbzfjd/wish/117625826