Politics and youth participation in the digital age – interview with @PhilippaCollin, pt.2

On the blog this week, I’m joined by Dr. Philippa Collin, a Senior Research Fellow at Western Sydney’s Institute for Culture and Society. Read Part One of this interview with Philippa on political, participation, youth engagement and the digital world here.

How does your role contribute to discussions around youth engagement – and activities which bring young people together with different institutions and organisations?

In the last few years I’ve been involved in large-scale, cross sector engaged research initiatives that bring together young people, industry, community, policy and academic partners to collaboratively identify, design and undertake research on a range of issues such as youth mental health, engagement, employment and online safety.

In this work I’ve been a strong advocate for participatory approaches and thinking about how to be inclusive of young people’s views – from agenda-setting about what gets researched and the terms of inquiry, through to translation and application of research findings. I hope I’ve had some influence!

My most recent project has involved collaborating with eight colleagues at WSU to run a Young and Resilient Living Lab Foundation Project. We brought together 100 participants over five workshops to co-create a community and an agenda for engaged research to inform technology-based strategies to promote the resilience of young people and their communities.

Fo us, resilience should be understood as the capacities to transform the conditions of social life – achieved through ongoing processes of individual and collective receptivity and responsiveness. Read more

The USQ Podcast

The University of Southern Queensland (USQ) has piloted a new podcast at the end of a six-month community engagement project with their School of Information and Learning Services.

The chatshow-style podcast offers a new medium to bring university experts together with a wider audience, to explore new ways of sharing knowledge, and to stimulate conversations between USQ staff and peers in other institutions.

Staff and students from USQ’s radio school joined forces with REDTrain, the university’s Researcher Development and Training Team, to identify USQ researchers who could speak to contemporary issues for a wide audience. We then partnered USQ speakers with peers in museums, the arts, sciences, and other universities to broaden the conversation and stimulate debate.

Three pilot podcasts were recorded in late 2017, with the first episode launching to mark USQ’s Astronomy Festival.

A second edition celebrating women in academia has just gone live.

Visit the USQ podcast platform, Whooska, to hear more.

Postcards from the Future: Behind the Scenes at Wondrous Strange #notenoughscifi

Imagine letting your community dream wildly of the world to come.

Imagine collaborating on a future history spanning millennia.

Imagine turning public space into something that was wondrous and strange.

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As part of our time-travel themed festival of weirdness, storytelling, art and science at Ann Arbor District Library, we asked visitors to write postcards from the future.

We collected over 80 tales stretching from 2018 to the year 5000.

Read more

The Fall of Box City: Havoc, chaos, and sheer delight with @ChaniTheunissen

A special guest joins us on the blog today. Chantel Theunissen, Children and Teens Librarian, Koraunui Stokes Valley Community Hub, and editor of New Zealand’s Library Lifetells us how she orchestrated havoc, chaos, and sheer delight to commemorate the closure of a temporary library in Aotearoa New Zealand.

Let me start off by saying all of my favourite things I’ve done at work (and in life really) haven’t been planned. Read more

Wondrous Strange at Ann Arbor District Libraries

I’m just back from a week delivering training and community engagement for Ann Arbor District Libraries, an acclaimed public library service in Michigan, USA.

The micro-residency culminated in an all-ages half-day event called “Wondrous Strange”, blending play, history, prophecy, technology, art, craft, science fiction, time travel, and storytelling.

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Wondrous Strange was an opportunity for the Ann Arbor community to venture into an imagined world blending fact and fiction, and to create their own shared stories and experiences stretching from recorded history into the distant future.

More on my Michigan visit soon, but for now here’s a short video from last Sunday’s session.

IX: Design Thinking and Beyond feat. @katiedavis / Part 2

Last time in this series we talked with Jerome Rivera of New Zealand about the messy realities confronted by frontline staff in libraries around the world. You can see some of that ongoing discussion via the #CodeBrown hashtag on Twitter.

What does an appreciation for messiness and uncertainty mean for the design of future experiences in libraries and their sister institutions? How can we best meet the information needs of the communities we serve?

Joining me this time is Dr. Kate Davis, my colleague at the University of Southern Queensland (USQ). Kate is a social scientist based in USQ’s Digital Life Lab, carrying out research into social media and the qualitative analysis of information experiences.

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Kate, I’ve heard of UX – user experience – but never IX. What is “information experience” all about?

IX is about understanding how people engage with information. It’s relational – focussed on the contexts in which people need, seek, manage, give, and use information. Read more

Code Brown: Design Thinking & Beyond feat. @jeromical / Part 1

Blame it on Jerome; it started with him.

Jerome Rivera, aka @jeromical, is Community Library Manager at Ranui in Auckland, New Zealand. He’s smart and thoughtful and highly accomplished, and one of the sharpest dressers I’ve ever seen. Jerome and his wife Rachael form something of a library power couple: she manages Auckland’s central city library and her teams have been responsible for amazing projects such as specialised services for homeless people and bespoke one-to-one encounters with Kiwi musicians for NZ Music Month. But I’ll have to get to the full story of Rachael’s greatness another time, because today is about Code Brown, and Code Brown starts with Jerome.

You see, being a librarian today is about all kinds of things. Access to information. Bringing communities together and giving them the opportunity to share their skills and stories, or create new knowledge. Offering new technologies and the skills to explore those technologies.

But, as Jerome pointed out on Twitter, when you work in a space like a library which is open and welcoming to all members of the public, sooner or later, you end up dealing with a Code Brown. Read more

Library Island hits #nls8

My professional development roleplay Library Island visited the New Librarians Symposium at the National Library of Australia last weekend.

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Librarians old and new joined forces to explore their work with communities in new, messy, and productive ways.

Going beyond the vogue for design thinking, the safe, fictional space of “Library Island” allowed us to engage with knotty questions of office politics, limited resources, managerial edicts, and library users who are sometimes airbrushed out of “future visions” – such as homeless people or those whose behaviour might be challenging to staff. Read more

A museum is a story is a house and a home – @paulrbowers

Paul Bowers is Head of Exhibitions at Australia’s Museum Victoria.

During this week’s Museums Galleries Australia conference, Paul took time out to write a few words about the term “narrative”, currently in vogue among cultural institutions.

Paul argues that narrative can be a dangerous label for cultural institutions to bandy about.

“Narrative is singular, but the museum experience (stories, facts, things, people, audiences) is diverse”, he writes. He points out that few people experience a museum or exhibition as a defined story with a beginning, middle, and end. He reminds us that the museum is “conceptualised in law, policy, and culture as a never-ending entity”, unlike stories which come to a conclusion.

Paul starts to imagine “post-narrative exhibitions”, more open-ended experiences that break the constraints of linear narrative and which also step out of the “genres” within which culture professionals often see themselves:

We are often in a heroic genre – questing against ignorance. We have a lot of scientist-as-hero, in which they use effort, brains and a ‘magical agent’ (such as a DNA machine) to defeat ignorance. […] We should think about our character – are we Aragorn, Frodo, or Gandalf? The kingly hero, the ‘nobody’ with a heart of pure courage, or the wise one who initiates others into their knowledge? A museum could be all or any of these, but we usually default to being Gandalf without it being thought through.

Paul also talks about “shared universes” and trans media properties like the world that has sprouted from Marvel comics:

In a storyworld, the makers, the characters, the audience, are all together in enacting a story. They all believe. So I see that we need to place ourselves within a storyworld as well, not as simply the abstract producers of the product people come to see. If I use Dr Who as an example, when i read the comics, watch the TV show, buy the products or indeed do all three, I am having a consistency of engagement with the storyworld. Dr Who is always clever and kind. But I am not shut out of the TV show if I don’t read the comics. How do we achieve that – how can all our audiences feel part of one consistent ‘Museum world’ whether they attend everything we do or just visit the website now and again? And how does the storyworld idea promote continued and deepening engagement? I might watch a show on Netflix just because it’s part of the Marvel Cinematic Universe and I liked the Iron Man films. That’s very different from promoting a show to me, and I think it’s deeper than ‘brand loyalty’ – I’m not being loyal to the brand, I’m being loyal to a storyworld.

Paul suggest we look beyond the world of essays and prose fiction to poetry, for a less structured experience, one which grants more power to the reader:

Literature is an interesting metaphor. We try to think like novelists, or the great essay writers. But I think exhibitions are closer to poetry. Individual moments, brief and rich in meaning, clustered together in suite and bound together as one entity: exhibits as poems, an exhibition as a volume of poetry, and the museum as a body of work of a range of poets.

But I’d point to another form, too: the short story. Deceptively similar to longer prose forms, the short story at its best manages to fold great swathes of experience and vision into a tiny textual construct. It is not a path from beginning to end, but a space which you can explore in different directions.

The great Alice Munro – my beloved Alice Munro – put it best, in the introduction to one of her story collections:

A story is not like a road to follow … it’s more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns, or sparsely or opulently furnished. You can go back again and again, and the house, the story, always contains more than you saw the last time. It also has a sturdy sense of itself of being built out of its own necessity, not just to shelter or beguile you.

Alice Munro imagines a story as a building to be explored, containing multitudes. And maybe museums, galleries, and libraries – all those cultural institutions which exist for their users to explore – could be like her stories too: not fixed paths leading us helplessly from beginning to end, but spaces at once familiar and surprising, ever enticing, comfortable enough to welcome us but challenging enough to merit repeat visits.

Read Paul Bowers’ “On Misusing ‘Narrative’ In Exhibitions” here.