Children in the Norfolk, Va., area will inherit the second highest sea level rise on the East Coast. In response, the non-profit Elizabeth River Project will prepare one of the first comprehensive youth education programs on climate change resilience on this coast. The Elizabeth River Project, working since 1993 to restore the environmental health of the urban Elizabeth River, will deploy its Dominion Virginia Power Learning Barge, “America’s Greenest Vessel,” and its new urban park, Paradise Creek Nature Park, to empower 21,000 K-12 students over three years to become informed decision makers and environmental stewards, prepared to adapt to rising seas. The project primarily will reach under-served schools in Norfolk and adjoining Portsmouth, Va. Lead science partner will be Old Dominion University, on the forefront of climate change research. Other partners include the Chrysler Museum of Art, ground zero for street flooding that has become routine in Norfolk. A youth strategy for the Elizabeth River “watershed” or drainage area will be disseminated nationally internationally by the City of Norfolk through its participation as one the Rockefeller Foundation’s 100 Resilient Cities. The youth strategy will be used by Norfolk to complement its Norfolk Resilience Strategy, prepared so far with adults in mind.
Portal to the Public (PoP) has been operated with considerable funding from the National Science Foundation since 2007 under the leadership of Pacific Science Center (PSC). The program uses a particular model to train and support science-based professionals (“scientists”) in outreach and engagement activities, based on the premise that scientists should engage directly and through materials-rich hands-on activities with family audiences, based on a basic understanding on how people learn, and how to engage audiences in discovery-based learning. Furthermore, the model assumes that scientists
The future challenges within science communication lie in a 'grey area' where the frontiers between production and sharing of knowledge are blurred. An area in which we can satisfy at the same time and within the same activity the autonomous interests of researchers and those of other stakeholders, including lay publics. Settings are emerging, where we can provide real contribution to scientific research and at the same time facilitate the publics in their process of hacking scientific knowledge to serve autonomously defined and often unpredictable functions. Some are linked to research
I intend to begin my presentation by providing an overview of what, actually, is a business model, followed by a focus on one aspect of that model, business strategies. The following is excerpted from my forthcoming book on new business models for museums (AltaMira Press).
I hear a lot about how we need a new business model for museums or that the current business model is broken. We have business models; we just may need to evolve them.
For museums, continuing revenue comes from four sectors (Visitors and Program Customers, both earned revenues, and Public and Private Supporters, both support revenues), each with its own interests. This article focuses on earned revenue opportunities and how to think about them, particularly those available to children’s museums.
Are your supporters and audiences getting benefits that are different from the impacts your mission desires? I believe that museums are valued for a wealth of beneficial results beyond their focused missions, and that studying the alignment between a museum’s intentions and its results can improve a museum’s impact and performance.
This slide describes historical trends in museum funding, showing the changing shares of government, private, earned income, and investments in museum business models.
This White Paper is based on proceedings from the National Living Laboratory Workshop: High School Research Experiences in Living Laboratory - a convening of professionals who wished to share resources and explore opportunities to involve high school students in the Living Laboratory model.
The Welcoming Guidelines Task Force was launched in 2014 to compile preferred practices for museums to use in working with LGBTQ professionals and communities. These practices are organized across functions and areas of professional practice with the goal to create a workable document that can be used by professionals and institutions of all kinds. The Guidelines are envisioned as a checklist/assessment that can be applied by individual LGTBQ museum professionals and our allies as a resource to effect change at institutions that serve LGBTQ persons and families and employ LGBTQ staff and
“Are museums perceived as experts – and are they trusted? To what extent?” These are the questions that I hoped to shine a light upon when I requested a topic-specific data cut on cultural organizations from the National Awareness, Attitudes, and Usage Study. The NAAU is an ongoing study regarding market perceptions of visitor-serving organizations and it currently quantifies feedback from over 108,000 respondents. The resulting data reveal important takeaways for museums today – and specifically underscore an important role that the market expects museums to play. As a heads-up, the data