(black = ward number, red = number of routes affected by service changes according to http://www.ttcriders.ca/)
If you haven’t heard, the City of Toronto and the Toronto Transit Commission is planning on cutting service to about 62 bus and streetcar routes. After receiving a e-mail from TTCriders that broke down which wards would be effected by each route, I decided to break down the service cuts by ward to see what parts of town will be affected the most:
I’ve been thinking of this blog as a collection - links and short blurbs on things that I have found interesting. A bibliography of sorts.
I love to collect. When I was a girl I collected TY Beanie Babies (I recently found a box of them: about 50 small adorable beady eyed little creatures). I’ve collected every ticket stub and receipt from concerts and traveling that I’ve done over the past 6 years and I keep them in a little chocolate box that I received from my first admirer. One of my favourite collections is that of strangely shaped paper clips, that I found mostly in my work in the archives of a Pension Fund I worked at for two years, and that I continue to add to when I find I have the chance.
So, in the same vein of collection, I decided to go out and collect some twitter feeds today, and I spent the morning rounding up (particularly) Canadian Museum twitter feeds and added them to my roster. I also added them to a website called paper.li - a website that uses a list of users to create an auto-generated newspaper form bulletin for every 24 hours. I will be using this myself as a collection ground - what are these institutions talking about every day? I’ve decided to share it on my twitter feed as well, so if you’re interested, give it a look.
Another collection I would like to draw your eye to is that of Herb and Dorothy’s http://www.herbanddorothy.com/ a fantastically cute little documentary that I’m hoping to get my hands on very soon.
One of the twitter feeds featured in the 1st edition of the Artful Word newsletter is MuseumNerd - when I asked them if I could use their twitter profile picture in the newsletter, they helpfully and kindly said yes, and also pointed me in the direction of an interview they did with Hyperallergic in March 2010. I’d like to share this all with you, particulairly this passage:
The feed began in April of 2009 like most people start Twitterfeeds: to keep in touch. But one day, on a trip through the Brooklyn Museum, @MuseumNerd noticed that iPod Touches featuring video of the artists had been mistakenly placed under the wrong artists. Tweeting about this error caught the attention of the always online attentive Brooklyn Museum staff and a conversation began.
“I was like, oh my gosh, the museum talked back to me,” @MuseumNerd remembers. “It was an incredible new way to communicate with an institution that seems so big.”
This is a perfect representation of how museums can interact with visitors and bring the experience to a new level. Twitter is such a personal and casual medium, it offers these large institutions a rare opportunity to connect with people on a more personal level.
The interview is also great, as it shows why MuseumNerd is such a great person to follow and why their work is so great in bringing attention to art through social media.
The Article is located HERE
Emperor, John Guthrie, Acrylic on Canvas, 76” x 60”
I’m very happy to present to you the first edition of the Artful Word Newsletter, focusing on Social Media in Museums and Galleries. This edition features an interview with Amrita Chandra, who I would like to thank for her time in contributing to the newsletter.
The .pdf of the newsletter can be found here
Please let me know what you think!
I am a huge fan of the art blog But Does it Float. Not only do they post interesting and beautiful works of art and design, but they accompany each post with a curatorial statement, so to say. Reading this short sentence before viewing the art adds something to the experience and changes what you look for in the post.
Some of my favourite statements:
Would you like to hear something slightly disturbing?
Agence France-Presse is arguing that “Twitter’s terms of service allow third parties broad re-use rights to their content, and thus the photographer’s selection of this mode of digital distribution gave AFP a broad license to redistribute the photographer’s images without consent from the photographer.”
Hyper Allergic in their recent post “Who Owns Photos on Twitter?” showcase the recent claims by Agence France-Presse that they have the right to License photographs uploaded to Twitter’s interface.
My reaction? “Uh, really?”
For More Information:
This is a huge area of concern - how are people to benefit from museums if they can’t feasibly access them? An admission price of $24 or an average of $80 for a family visit (as found at the ROM) certainly presents a barrier for access that can be insurmountable in some cases.
While using social media and internet resources to make a museum space more accessible is commendable, perhaps making the space accessible through price should be the first step.
Read Leah’s article here
I’ve been MIA this past week so I’ve decided to play a little catch up, by highlighting some new initiatives going on in the museum world -
The Indianapolis Museum of art has recently released a call for proposals and six week residency program for Indianapolis Island in their 100 Acre Outdoor exhibition space. This program will be incorporating a blog into the project and is a great opportunity for artists to use this new space.
Museum 2.0 Blogger and author of the Participatory Museum Nina K Simon commemorates her 4 year blogging anniversary with a post on how she’s gotten to where she is and the impact her blog has had on her career.
The Brooklyn Museum shocked the online community with the announcement of the movement of their online membership community from Twitter and Facebook to Meetup.com.
Guggenheim Museum’s -
The Guggenheim Museum as part of their exhibition Play has started a blog Called the Take, that has recently posted about the use of the internet as platform for collaboration in art and access to material and the complications of copyright. On Access is in particular a great and intersting read, featuring the works of artists done with public domain material from the National Film Board of Canada.
The Powerhouse Museum has recently announced that it will be launching a repository of digital images that are licensed under a Creative Commons license. Much like the Brooklyn Museum, the digital image collection will now be available for people to reproduce. Great news!