“How [can we] merge our ‘evaluation’ with life’s activities?”
He suggests, “If you want quantitative data about people and social change, it’s probably more practical to transform our evaluation tools into a regular part of daily life—like Facebook or Google—so that we’re constantly looking at tens of thousands of bits of knowledge instead of just a few hundred.”
Maxson discusses Global Giving’s collection of tens of thousands of anecdotal stories throughout communities served by the organization.
This and many of the other entries suggest that when it comes to evaluation and the arts, surveys and statistics are out; stories and experiences are in. Also, social media platforms, like the ones cited above, have opened doors for the often unsolicited, ongoing collection of such stories and experiences.
In my first post, I wrote about the challenges of evaluating the impact of public art, especially on audiences and communities, by traditional quantitative data collection. Instead, what types of “stories” and “experiences” with public art could be recorded or collected, and how?
In her summary of Fairmount Park Association’s Museum Without Walls: AUDIO program, Penny Balkin Bach describes using storytelling to deepen each artwork’s engagement with a general public. Rachel Engh describes a feature allowing users to record their own stories about experiencing art in public spaces.
I do believe that new online and mobile technologies such as these are making it more and more feasible to collect and document a much greater archive of anecdotal evidence of people interacting with public art, “liking” public art, and discussing the issues behind it.Read More