Other examples of shared historical authority include StoryCorps,  City of Memory, and Philaplace, an internet based neighborhood history project produced by the Historical Society of Philadelphia that combines scholarly essays with stories from anyone who cares to submit one. Staff members then curate the submitted stories. Dennis Severs House is a historic townhouse in London (18 Folgate St.) that was restored by Dennis Severs. The house is filled with historic objects alongside modern touches, sound clips of carriages and crying babies, and plates of real food set out each day by the staff. Visitors are encouraged to roam the house on their own, sit down on the furniture, interact with other visitors  and draw their own conclusions. The experience is meant to blur the lines between art and history. The Lower East Side Tenement Museum is the first museum to focus on the lives of urban, immigrant tenement dwellers. It shares authority by inviting the families of former residents to contribute objects, photographs, documents, interviews  and oral histories to the museum tours. Part of the museum's mission is to address today's immigrant issues. This provides another avenue for sharing authority through public programs that connect speakers with varied backgrounds to public audiences. The museum invites sharing on one of its tours, Sweatshop Workers, with the words: "Spend extended time inside the Levine and Rogarshevsky apartments and join in a discussion about themes arising from the tour. Share your experiences, thoughts  and family histories with your educator and fellow visitors." Open House: If These Walls Could Talk is an exhibition that was produced by the Minnesota Historical Society in 2006. The exhibition traced the stories of families in a single house in St. Paul, Minnesota between 1888 and 2006. The curators did not want to show patterns or people as part of aggregate groups. Instead, they chose to emphasize singularity and individuality. To accomplish this, the Minnesota Historical Society built a house for visitors to walk through. Instead of reading large panels of wall texts, visitors had to interact with objects to hear, read, or see  information. Unlike projects in which the content is produced in conjunction with a group of community members, here authority was shared at the level of narrative creation. Curators controlled the objects in the house, recordings of former residents, and the setup of the space. Without an overarching structure, visitors could wander through at random, co-creating their own narratives. There was no clear beginning and end beyond entering and exiting the house.Filene, B. (2011). Make Yourself At Home-- Welcoming Voices in Open House: If These Walls Could Talk.Letting Go? Sharing Historical Authority in a User-Generated World. in Bill Adair, Benjamin Filene, and Laura Koloski (eds.), Letting Go? Sharing Historical Authority in a User-Generated World, pp. 138-155. Philadelphia, PA: Pew Center for Arts and Heritage. The Black Bottom Performance Project is a partnership between the University of Pennsylvania and residents of Black Bottom, an historically black neighborhood destroyed by urban renewal policies and the University of Pennsylvania's expansion in the 1960s. Billy Yalowitz, a theater professor working at the university, invited Penn students as well as student and teacher partners from University City High School—a school built in the former Black Bottom neighborhood—and former residents of the neighborhood to work together on the telling of the neighborhood's history, ultimately creating "Black Bottom Sketches" in 1998.Yalowitz, B. (2011). "The Black Bottom: Making Community-Based Performance in West Philadelphia." in Bill Adair, Benjamin Filene, and Laura Koloski (eds.), Letting Go? Sharing Historical Authority in a User-Generated World, pp. 156-173. Philadelphia, PA: Pew Center for Arts and Heritage. The Humanities Truck is an experimental mobile platform for collecting, exhibiting, preserving, and expanding  dialogue around the humanities in and around the Washington, D.C. area. The project, which is sponsored by American University and is initially funded through a generous grant from the Henry Luce Foundation, enables partnerships with local organizations to collect people’s stories on critical issues, such as immigration and homelessness. The truck is fitted with a recording studio, mobile workshop space, and a gallery for pop-up exhibits that features built-in speakers, a flat screen television, a roll-down screen and projector, and even an outside exhibit wall. Humanities Truck project fellows share historical authority with the communities with which they work.
Other examples of shared historical authority include StoryCorps, the City of Memory, and Philaplace, an internet-based neighborhood history project produced by the Historical Society of Philadelphia that combines scholarly essays with stories from anyone who cares to submit one. Staff members then curate the submitted stories. Dennis Severs House is a historic townhouse in London (18 Folgate St.) that was restored by Dennis Severs. The house is filled with historic objects alongside modern touches, sound clips of carriages and crying babies, and plates of real food set out each day by the staff. Visitors are encouraged to roam the house on their own, sit down on the furniture, interact with other visitors , and draw their own conclusions. The experience is meant to blur the lines between art and history. The Lower East Side Tenement Museum is the first museum to focus on the lives of urban, immigrant tenement dwellers. It shares authority by inviting the families of former residents to contribute objects, photographs, documents, interviews , and oral histories to the museum tours. Part of the museum's mission is to address today's immigrant issues. This provides another avenue for sharing authority through public programs that connect speakers with varied backgrounds to public audiences. The museum invites sharing on one of its tours, Sweatshop Workers, with the words: "Spend extended time inside the Levine and Rogarshevsky apartments and join in a discussion about themes arising from the tour. Share your experiences, thoughts , and family histories with your educator and fellow visitors." Open House: If These Walls Could Talk is an exhibition that was produced by the Minnesota Historical Society in 2006. The exhibition traced the stories of families in a single house in St. Paul, Minnesota between 1888 and 2006. The curators did not want to show patterns or people as part of aggregate groups. Instead, they chose to emphasize singularity and individuality. To accomplish this, the Minnesota Historical Society built a house for visitors to walk through. Instead of reading large panels of wall texts, visitors had to interact with objects to hear, read, or see the information. Unlike projects in which the content is produced in conjunction with a group of community members, here authority was shared at the level of narrative creation. Curators controlled the objects in the house, recordings of former residents, and the setup of the space. Without an overarching structure, visitors could wander through at random, co-creating their own narratives. There was no clear beginning and end beyond entering and exiting the house.Filene, B. (2011). Make Yourself At Home-- Welcoming Voices in Open House: If These Walls Could Talk.Letting Go? Sharing Historical Authority in a User-Generated World. in Bill Adair, Benjamin Filene, and Laura Koloski (eds.), Letting Go? Sharing Historical Authority in a User-Generated World, pp. 138-155. Philadelphia, PA: Pew Center for Arts and Heritage. The Black Bottom Performance Project is a partnership between the University of Pennsylvania and residents of Black Bottom, a historically black neighborhood destroyed by urban renewal policies and the University of Pennsylvania's expansion in the 1960s. Billy Yalowitz, a theater professor working at the university, invited Penn students as well as student and teacher partners from University City High School—a school built in the former Black Bottom neighborhood—and former residents of the neighborhood to work together on the telling of the neighborhood's history, ultimately creating "Black Bottom Sketches" in 1998.Yalowitz, B. (2011). "The Black Bottom: Making Community-Based Performance in West Philadelphia." in Bill Adair, Benjamin Filene, and Laura Koloski (eds.), Letting Go? Sharing Historical Authority in a User-Generated World, pp. 156-173. Philadelphia, PA: Pew Center for Arts and Heritage. The Humanities Truck is an experimental mobile platform for collecting, exhibiting, preserving, and expanding the dialogue around the humanities in and around the Washington, D.C. area. The project, which is sponsored by American University and is initially funded through a generous grant from the Henry Luce Foundation, enables partnerships with local organizations to collect people’s stories on critical issues, such as immigration and homelessness. The truck is fitted with a recording studio, mobile workshop space, and a gallery for pop-up exhibits that features built-in speakers, a flat-screen television, a roll-down screen and projector, and even an outside exhibit wall. Humanities Truck project fellows share historical authority with the communities with which they work.
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internet-based
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flat screen
flat-screen