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Participación en museos (Co- (Co-producción (Graham, H. (2016). The “co”…

- - - - Antonetti, A., & Fletcher, T. (2016). Parent Perceptions of Museum Participation: A Comparison Between Parents of Children With and Without Autism Spectrum Disorders. Inclusion, 4(2), 109–119. Retrieved from http://10.0.5.72/2326-6988-4.2.109
      - KELSEY KULIK, T., & SUE FLETCHER, T. (2016). Considering the Museum Experience of Children with Autism. Curator, 59(1), 27–38. Retrieved from http://10.0.4.87/cura.12143
    - - Grek, S. (2009). “In and against the museum”: the contested spaces of museum education for adults. Discourse: Studies in the Cultural Politics of Education, 30(2), 195–211. Retrieved from http://10.0.4.56/01596300902809237
- - - - Concepto que sustenta la metodología de co-creación desarrollado por Venkat Ramaswamy y Francis Gouillart, que parte del supuesto de que las personas no quieren que se les impongan productos y soluciones, sino que esperan ser vinculados de manera activa a su diseño y que se incorporen sus propias experiencias. (Venkat, R & Gouillart, F. 2010, 2012)
      - el concepto de incluyente, desde una perspectiva integradora, con espacio para la participación activa de todos los actores comunitarios, y centrados en la reflexión y concientización de la importancia del agua en el desarrollo sostenible de la zona y la región. Apoyados en el concepto de jerarquía de necesidades de Maslow (Maslow’s 1943, 1954) (Tay & Diener 2011),
    - - terms like 'co-production', 'co-creation' and 'co-curation' are used at various times to denote collaboration between museum staff and a variety of stakeholders – community groups, visitors and non-visitors, special interest groups, individuals with specialist professional and academic expertise and so on.
      - in addition to ‘participation’, 'co-creation' and 'co-curation', there is 'public-curation', 'community collaboration', and ‘co-production’. The sheer breadth of terms applied to these practices, while sometimes subtly nuanced in meaning, can nevertheless hinder constructive dialogue around the purpose and progression of such work
      - 'Co-creative' projects for Simon go a step further by often requiring 'institutional goals to take a backseat to community goals' (Simon, 2010, p 264).
      - Govier notes her preference for 'co-creation' rather than the related term 'co-production' as 'the former implies slightly more openness about where the collaborative journey might take all of the participants' (Govier, 2010, p 3-4). Moving
  - - - are concerned with opening up political potentials by indicating a variety of ‘cos’, a plurality of entities interacting in variable ways and with variable, and always political, effects.
        This
      - ‘imply that citizens can play an active role in producing public goods and services of consequence to them’ (Ostrom, 1996, p 1,073).
      - Like co-production in a policy context, community co-production has sought to increase the variety of people, and often objects, which are involved in museum practice.
    - - El paper revisa: examines the different levels of agency that are created when museums are charged with ‘producing’ multiple participation and dialogue
    - - Encontraron 4 tendencias sobre participación en museos: Good for ‘Us’: making the museum/heritage site or research better and more relevant;
        • Good for ‘Them’: motivated by government and policy to support, educate or improve the public;
        • Not Good for Anyone: which suggests that institutions can too often be unaware of their ‘coercive power to manipulate’, be manipulative, fetishize authenticity and only practice ‘empowerment-lite’ (Lynch interview; 2011a: 6).
        • Good for Us All: working through logics of solidarity or logics of bottom-up, activist or associative democracy (Hirst 1994) either to create institutional change or new logics of legitimacy.
        The
      - Tema de Copyrights
        
        copyright was located as a means of signalling the beginning of the process of coming into the public. Culture Shock! had a standard copyright form which assigned full copyright to the museum, but also gave room for individuals to specify restrictions (e.g. not for posting on the website)
    - - "The technique of using co-production not primarily as a means of social inclusion, but for insights into how audiences think about the subjects and objects we display..."
      - Over the last decade or so, a growing number of museums have attempted to engage lay publics with the work they do, inviting them to take part in the exhibition making process (Watson, 2007; Simon, 2010; Golding and Modest, 2014).[3] This practice has been known under many different names, including collaboration, participation, co-production and co- creation. Although these words are often used as synonyms for the same practice, it is also the case that a word such as ‘participation’ can be interpreted in many different ways.
  - - - co-development can be described as a 'personal' form of participation, affected more by the visitors’ own level of engagement with science than by how they expect the museum to contribute to policy