The Participatory Museum

The book is divided into two sections: the first, Design for Participation, addresses the theoretical framework and the second, Participation in Practice, behaves as a practical “how-to” guide for institutions to use in developing their own content-rich, mission statement supporting, audience-centered interactions. Simon presents four participatory models – contribution, collaboration, co-creation, and hosted – with specific examples and recommendations through dozens of case studies “for how to develop, evaluate, manage, and sustain participation in ways that advance institutional missions” (iv).

The fundamental theories explored in the book are:

1. The idea of the audience-centered institution that is as relevant, useful, and accessible as a shopping mall or train station.

2. The idea that visitors construct their own meaning from cultural experiences.

3. The idea that users’ voices can inform and invigorate both project design and public-facing programs (Simon 2010, ii; emphasis in the original).

The Participatory Museum focuses primarily on establishing the frameworks in which to create and foster relationships within cultural institutions. Simon’s work is a prime example of cultural awareness and relevance. Her work echoes the memes found in other areas of design – particularly that of network design and development – and can be defined as “people centered design,” focusing on the semiotics of social interaction. Using narrative and scenarios, Simon emphasizes the need for connection between the conceptual design work and the mission of the institution. Consumers have become accustomed to the changing and evolving nature of applications, networks, and ways of connecting to the world and to one’s social circle. Simon applies this short looping process of looking, asking, envisioning, and trying to potential museum projects.

The strength of Simon’s work is how she demonstrates her theories even in the organization of her writing. However, her scope is narrowed to the interactions of visitors who are already inside the museum. She fails to address the topic of accessibility to the museum itself. Examined are the various reasons people choose to attend a museum and excuses for not returning, but she does not discuss the difficulties institutions may be facing in making their exhibits and projects available to low-income communities who may also benefit from participation and inclusion. Simon has understandably narrowed her focus, since dealing with the topics of institutional funding would fill a volume of its own.

The Participatory Museum is a compelling read not only for the potential for museums, but for the ways the suggestions can be employed across the arts. Simon demonstrates a compelling case for incorporating greater collaboration with audience members to both further educate and foster a sense of ownership that will translate into loyalty and attendance. This idea of collaboration allows for rich community dialogue and greater opportunities for institutions to cultivate meaningful projects and interactions.

This volume will interest audiences outside of the museum world, as its principles and observations can be directly applied to any institution interested in examining a greater depth of engagement with target audiences.

The Participatory Museum was published through Creative Commons, and the full copy can be read online or purchased at www.participatorymuseum.org.

Simon also invites readers to discuss and comment on her work.