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2018 | Buch

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Museum Experience Design

Crowds, Ecosystems and Novel Technologies

herausgegeben von: Arnold Vermeeren, Licia Calvi, Dr. Amalia Sabiescu

Verlag: Springer International Publishing

Buchreihe : Springer Series on Cultural Computing

Enthalten in: Springer Professional "Wirtschaft+Technik" , Springer Professional "Technik" , Springer Professional "Wirtschaft"

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Über dieses Buch

This state-of-the-art book explores the implications of contemporary trends that are shaping the future of museum experiences. In four separate sections, it looks into how museums are developing dialogical relationships with their audiences, reaching out beyond their local communities to involve more diverse and broader audiences. It examines current practices in involving crowds, not as passive audiences but as active users, co-designers and co-creators; it looks critically and reflectively at the design implications raised by the application of novel technologies, and by museums becoming parts of connected museum systems and large institutional ecosystems.

Overall, the book chapters deal with aspects such as sociality, creation and sharing as ways of enhancing dialogical engagement with museum collections. They address designing experiences – including participatory exhibits, crowd sourcing and crowd mining – that are meaningful and rewarding for all categories of audiences involved. Museum Experience Design reflects on different approaches to designing with novel technologies and discusses illustrative and diverse roles of technology, both in the design process as well as in the experiences designed through those processes. The trend of museums becoming embedded in ecosystems of organisations and people is dealt with in chapters that theoretically reflect on what it means to design for ecosystems, illustrated by design cases that exemplify practical and methodological issues in doing so.

Written by an interdisciplinary group of design researchers, this book is an invaluable source of inspiration for researchers, students and professionals working in this dynamic field of designing experiences for and around museums.

Inhaltsverzeichnis

Frontmatter

Chapter 1. Future Museum Experience Design: Crowds, Ecosystems and Novel Technologies

Abstract

The museum world is rapidly changing from being collection-centred to being community-centred and for the public. Apart from broadening access to collections through, for example, digitisation initiatives, new ways of involving the public more meaningfully and at various levels have emerged. Experiences inside museums have become more engaging, by extending the experience beyond the physical visit, or by involving the public in various forms of crowdsourced stewardship of collections. In this book, we explore the design implications that go along with these developments, all concerned with diversifying and making the engagement of the public in museum experiences more rewarding. We focus on the design implications associated with museums reaching out to crowds beyond their local communities, on experimenting with novel technologies and on conceiving experiences embedded in connected museum systems and large institutional ecosystems. By looking at and reflecting on trends, we attempt to sketch a picture of how future museums will change and, particularly, how they will relate to their public as a result of responding to or embracing these trends.

Arnold P. O. S. Vermeeren, Licia Calvi, Amalia Sabiescu, Raffaella Trocchianesi, Dagny Stuedahl, Elisa Giaccardi, Sara Radice

Engaging the Public

Frontmatter

Chapter 2. Supporting Social Engagement for Young Audiences with Serious Games and Virtual Environments in Museums

Abstract

Considering the shift of museums toward digital experiences that can satiate the interests of their young audiences, we suggest an integrated schema for socially engaging large visitor groups. As a means to present our position, we propose a framework for audience involvement with complex educational material, combining serious games and virtual environments along with a theory of contextual learning in museums. We suggest that effective learning with school groups visiting museums can occur through the facilitation of coordinated activities of young participants with appropriately designed technological mediation. We use the term orchestrated learning to present our rationale on how such activities can lead to enhanced learning through increased motivation and social interactions. In order to validate our framework, we built a testbed application that supports collaborative gameplay of small and large student groups. The application, named C-OLiVE: Collaborative Orchestrated Learning in Virtual Environments, is a 3D simulation game that allows participants to learn the process of olive oil production. The game has been used so far in three studies with 710 students in schools, summer camps, and a museum. We describe the modes of visitor involvement that were designed and tested with middle school students in the different learning settings. Finally, we present our most important findings and discuss their implications for the design of interactive digital experiences for young audiences visiting museums. These findings serve both as evidence for the applicability of our framework and as a guidepost for the direction we should move to foster richer technology-mediated social engagement of young crowds in museums.

Panagiotis Apostolellis, Doug A. Bowman, Marjee Chmiel

Chapter 3. Design Is Not for Us: Engaging a New Audience for the Design Museum by Changing Their Expectations

Abstract

Current visitors of the Design Museum in London can be roughly divided into two types of people: experts with a background or specific interest in design and novices that are new to design. User studies in the museum revealed a lack of engagement with the novice visitors, which mostly has to do with their attitude when they enter the museum. They have relatively low expectations about their visit, assuming design is ‘just not for them’. This chapter argues that in order to engage them, the museum should lower the perceived exclusiveness of design, broaden the amateur’s view on what design can be, and create a lasting experience outside of the traditional museum visit. This alternative approach resulted in the proposal for a design intervention in the form of a ‘Design Library’. Lending out part of the design collection to visitors enables self-documentation of user experiences through a mobile application. Collected stories are made available to (novice) visitors in the museum, broadening their definition of design. At the time of publication, the Design Library is still only a concept. Nevertheless, this project shows an interesting approach for a museum to change novices’ attitude towards the subject, and thus, their expectations before they enter the exhibition.

Sophie Boonen, Martijn van der Heijden, Elisa Giaccardi

Chapter 4. Crowdsourcing Ideas for Augmented Reality Museum Experiences with Children

Abstract

When the target audience is children, the human–computer interaction community has firmly established the benefits of involving children throughout the design process. Participatory design methods with children have been used successfully for the design of learning. Within the context of museums, there have been shown to be benefits in children designing interactive experiences for themselves and their peers. We therefore conjecture that children can contribute towards the design of engaging learning materials for museums. With space being a premium within museums, the possibility of using augmented reality (AR) with existing exhibits is appealing. With the increased availability of off-the-shelf wearable devices, research in the field of wearable computing has grown in recent years but only a small portion of this research is dedicated to the design of wearable technologies for children. This chapter presents a study that uses specially constructed storyboards to crowdsource ideas for a VR exhibit within a museum in which children were enabled to design low-fidelity interfaces and interactions within an AR context. The storyboards that the children produced were analysed to determine whether the children understood the concept of AR. In addition, the drawings were analysed to establish the ideas generated, the feasibility of the implementation of proposed technology, the interaction methods and, finally, the educational merit. We critically reflect on the ideas proposed by the children and the methodology for generating ideas relating to museum experiences.

Gavin Sim, Brendan Cassidy, Janet C. Read

Crowds—Diverse Audiences

Frontmatter

Chapter 5. Experiencing the Art Museum: Methods for Public Engagement

Abstract

Methods for interactive, socially engaged art museum experiences are explored. They examine the utility of developing larger, institutional philosophies to specific techniques via case studies at the U.C.L.A. Hammer Museum, the Oakland Museum of California, and the Walker Art Center. Employed by a spectrum of practitioners such as artists, designers, and museum professionals, these approaches created new avenues for interaction. Specifically, artists entering into visitor services to drive institutional evolution, techniques for engaging atypical visitors, and approaches for engaging with “the crowd” with ephemeral art movements.

Maria Mortati

Chapter 6. Crowd Mining Applied to Preservation of Digital Cultural Heritage

Abstract

Accessible systems, in digital heritage as elsewhere, should ‘speak the user’s language’. However, over long time periods, this may change significantly, and the system must still keep track of it. Conceptualising and tracking change in a population may be achieved using a functional and computable model based on representative datasets. Such a model must encompass relevant characteristics in that population and support predefined functionality, such as the ability to track current trends in language use. Individual published viewpoints on any given platform may be observed in aggregate by means of a large-scale text mining approach. We have made use of social media platforms such as Twitter and Tumblr to collect statistical information about anonymous users’ perspectives on cultural heritage items and institutions. Through longitudinal studies, it is possible to identify indicators pointing to an evolution of discourse surrounding cultural heritage items, and provide an estimate of trends relating to represented items and creators. We describe a functional approach to building useful models of shift in contemporary language use, using data collection across social networks. This approach is informed by existing theoretical approaches to modelling of semantic change. As a case study, we present a means by which such ongoing user modelling processes drawing on contemporary resources can support ‘just-in-time’ pre-emptive review of material to be presented to the public. We also show that this approach can feed into enhancement of the data retrieval processes.

Emma L. Tonkin, Gregory J. L. Tourte, Alastair Gill

Chapter 7. Paid Crowdsourcing as Concept and Content Generator to Enhance Museum Experiences

Abstract

Current design and development practices for technologies in museums are costly and difficult to scale. We present a case study that shows that paid crowdsourcing is a viable approach for the design of a Museum app from concept to the development of a working prototype, and the creation of scalable content for over 80 museums worldwide. The concept that was developed is a quiz-type mobile app, the content of which was collected by existing crowdsourcing platforms. Our work extends prior studies of crowdsourcing in cultural institutions by reporting on the process, platforms, and data we utilized so that other institutions could replicate them. Paid crowdsourcing of content for a mobile museum application creates opportunities for new museum experiences that fit into the modern technological society. This emerging crowdsourcing approach addresses the evolving museum trend of being community-centered. The case study shows interesting opportunities for content modification regarding decent and up-to-date information which can make the application self-sustaining.

Lindsey van der Lans, Evy Ligia Ansems, Vassilis-Javed Khan

Chapter 8. The Value of User-Centric Crowdsourcing for Cultural Heritage: Fostering Emotional Engagement with Integrity

Abstract

Historical museums and institutions are turning to crowdsourcing initiatives to help collect, organise and preserve information. The systems being deployed are designed with usability and data validity as their primary concern. However, participatory projects also provide an opportunity for institutions to fulfil their ethical remit to engage the public with their digital collections. In this chapter, we (a) place the role of crowdsourcing initiatives in terms of the ethical concerns of cultural heritage institutions and (b) take a preliminary step in theorising experience design concepts to integrate these concerns with crowdsourcing initiatives. We propose that the design of such systems should take into account the experiential qualities of the volunteer’s work. The aim of taking such an approach would be to place more emphasis on these initiatives as participatory processes that are beneficial not only to the institution but also to the individuals taking part. We report a study carried out in collaboration with the American Air Museum, part of the Imperial War Museums in the UK. An image classification system is deployed in gallery to explore participants’ reflections on their user experience and to identify components of engagement that can be targeted for design work. Our findings suggest that a volunteer’s emotional connection to the crowdsourcing content is correlated to their appreciation and enjoyment of the task. We go on to propose a set of design perspectives derived from further analysis of the participants’ qualitative experiences of the task.

Tom Wrigglesworth, Leon A. Watts

Chapter 9. One Museum, Multiple Doors—Design for Experience of Living Cultural Heritage for Different Stakeholders

Abstract

We define cultural heritage, drawing on UNESCO, as tangible and intangible artifacts (e.g., tools, dresses, symbols, languages, decorations, buildings, stories, songs, rituals, etc.) that are developed in a culture. Based on teaching academic courses on design for cultural heritage and on work we did in relation to various collections of cultural heritage, we developed a taxonomy that distinguishes different types of stakeholders for cultural heritage collections. Different stakeholders vary in their needs and in the intended or expected experiences. For a culture to survive generations of participants, individual cultural heritage artifacts need to be maintained as well as be available for examination and (responsible) use. We propose that for being understood by new generations, the documentation for each artifact should include: (a) a description of the current state as well as of its original state; (b) an account of the original context of its creation and of its creator(s) in the context, a history of use, maintenance, changes, evolving role in the culture; and (c) a diary of use and maintenance by the current (temporal) owner(s). Cultural heritage artifacts often move into departments of public museums that should cope with a growing variety of intentions and needs between culture scholars, amateur culture participants and the general public. However, presentation of cultural heritage museum exhibit that provides optimal information for a scholar may be boring for the general public. Solutions are discussed in terms of museum business models, ICT support, and logistics, and involvement of cultural heritage related communities.

Gerrit van der Veer, Teresa Consiglio, Selene Uras

Opportunities Through Technology

Frontmatter

Chapter 10. Augmenting the Experience of a Museum Visit with a Geo-Located AR App for an Associated Archaeological Site

Abstract

The experience and learning effect of visiting a museum associated with an archaeological site located nearby can be augmented by a location-based app designed to explore the site. In this chapter, we describe the design of such an app for a relatively small archaeological site called Thetford Priory in England. The design and development of the app was a multidisciplinary and inter-sectoral effort. A survey was conducted with 164 children aged 10–11 years old from five different schools to evaluate the usability and user experience of the app and the learning effect of deploying it. Results of the survey indicated that the enjoyability, ease-of-use, and understandability of the app were generally high, and that the users tended to download the app and recommend it to others. Overall, the main implication we can infer from the research study is that new mobile and interaction technology, when carefully designed, can be a powerful tool in enhancing and disseminating the value of cultural heritage and in utilising the complementarity of museums and their associated sites nearby.

Effie Lai-Chong Law

Chapter 11. Interactive and Social Technology: Challenges and Opportunities for Museums and Heritage Institutions in Latin America

Abstract

Cultural institutions, such as museums and heritage sites, face particular challenges when dealing with technology and innovation adoption in developing countries. Social and economic instability, low priority attribution, usually leads to lack of funding and insufficient investment in technological infrastructure to appropriately support innovative projects and interactive visitor participation. These difficulties often mean institutions fall back to traditional, static, one-size-fits-all displays, which frequently fail to meet the interest of modern audiences. Additionally, content generation is slow, usually not adapted to digital media, and teams are limited in what they can do, compromising technology adoption and content evolution. In parallel, in many of these societies, there has been a visible increase in mobile technology dissemination and social media interaction. We believe that this creates an opportunity to engage museum visitors and to approach challenges with novel strategies without requiring a large technological investment on the part of the institution. In this chapter, we explore the challenges faced by cultural institutions in Brazil, based on interviews with local museum directors and curators. We also point out the opportunities to tackle these challenges that arise from the widespread adoption of personal and mobile technology in Brazilian society. Real-life examples from Brazilian museums, art schools, and heritage sites are used to illustrate typical situations.

Letícia Verona, Adriana S Vivacqua, Maria Luiza M Campos

Chapter 12. Using Mobile Technologies to Capture the Visitor Experience

Abstract

Museums give much consideration to how visitors experience their exhibits. Mobile technologies, such as apps on mobile phones and tablets can capture the visitor experience in an automated, on-the-spot manner. Two apps were designed and used to capture visitors’ experiences of interactive exhibits at a science museum. Based on our observations, we discuss (a) the appeal of the technology, (b) the integration of this technology in the overall museum visit and (c) the processing of the collected experience data. Based on our observations, we recommend that museums and science centres critically evaluate the above-mentioned points when considering implementing mobile technologies to capture the visitor experience. Furthermore, we advise institutions to approach mobile technologies as product service systems and take into account the infrastructure that is required to make mobile technologies work.

Marco C. Rozendaal, Arnold P. O. S. Vermeeren, Diana C. Issidorides

Chapter 13. A Critical Reflection on Three Paradigms in Museum Experience Design

Abstract

This chapter identifies and describes three technological paradigms in museum experience design, all positioned within an overarching visitor-centredness frame: (1) User-centred experience design, which emphasises modelling experience design in response to visitor views and interests, through methods adapted from or inspired by user-centred approaches in Human–Computer Interaction; (2) Participatory experience design, which shifts the emphasis from the product to the process of design and invites the visitor to become partner in the design of experiences; and (3) Agile experience design, in which the main preoccupation is with being constantly responsive to evolving visitor aims and needs, and innovating the experiential offer on an ongoing basis. In the context of museum experience design, each of these paradigms represents a systematic way of delivering value to the public through meaningfully designed experiences. The chapter contributes a critical reflection on the importance of acknowledging the existence and endorsement of these paradigms, which can impact museum practice beyond single design projects. In particular, I will discuss to what extent working within a certain paradigm can be transformative for the way museums function, how they are organised and how they engage with their public.

Amalia Sabiescu

Museums as Part of an Ecosystem

Frontmatter

Chapter 14. Becoming Vincent: A Multifaceted Story in a Multifaceted Ecosystem

Abstract

This chapter presents the process that led to the development of a virtual experience for the church in Etten-Leur, which is part of the heritage related to Vincent van Gogh and which hosts a permanent exhibition related to the artist’s life in the area. As such, it is one of the elements in the Becoming Vincent project. This chapter highlights the complexity of the heritage ecosystem underlying the project, consisting of various stakeholders with diverse, sometimes diverging or even incompatible, interests and goals. In this chapter, we discuss how we coped with this diversity and we draw some of the lessons we learnt from this process for future use. The most important lesson is the need to involve all stakeholders from the start of the process and to treat them equally, despite visible differences in their relative interest in the outcome of the project, in order to give them the feeling to have ownership on the expected outcome, and therefore to enhance the chances that they will still support the project after its completion. At the same time, it is important to keep the network structure simple and clear in order to avoid unnecessary or redundant passages in the knowledge transmission within this web of relations. While not specific for museums but prone to be applied to any complex networked situation, this approach has helped us cope with a complex cultural ecosystem.

Licia Calvi, Moniek Hover

Chapter 15. Designing Trajectories of Experiences: In Museums, Around Museums, or Including Museums

Abstract

Recently, museums have increasingly become parts of ecosystems of people and organizations in their functioning. As a consequence, museum experience designers are stimulated to think in a holistic way, about experiences of people that engage with networks including the museum, as well as about the role of individual museums within such ecosystems (Vermeeren et al in Museum experience design – crowds, ecosystems and novel technologies, 2018a). This raises the questions of: What are ways in which a museum experience relates to experiencing its embedding context? And, what does this imply for the process of designing the museum experiences? In two design case studies, four ideas for museum experiences have been developed based on different ways in which museums relate to their embedded network. The ideas illustrate how the focus of the design may be different depending on the role the museum plays in the overall experience, and how the design process is complicated by having to deal with a larger group of stakeholders when designing. Finally, all ideas came forth from taking a broader view of the potential museum target group than seeing them solely as visitors to the museum. This was seen as crucial for inspiring solutions to museum experiences beyond more traditional museum visiting experiences.

Arnold P. O. S. Vermeeren, Hung-Chu Shih, Rik van der Laan, Licia Calvi, JungKyoon Yoon, Ianus Keller

Chapter 16. The Museum as Ecosystem and Museums in Learning Ecosystems

Abstract

In this chapter, we suggest that ecological thinking can inform the design of audience-centred and society-relevant learning experiences in museums, with a focus on digital learning. We draw attention to two interrelated perspectives for positioning museum learning experiences: First, their embedding in the museum ecosystem, which includes the collections and spaces, but also museum staff, audiences and the intricate webs of interactions and relationships that underpin the everyday life of the museum. Second, the place of the museum in a broader education ecosystem, which includes formal and informal education providers, learners, as well as other social and institutional actors that shape educational practice. We illustrate this perspective through a case study of a successful long-term partnership between a museum and a technology company for innovating the learning offer for young audiences: The Samsung Digital Discovery Centre at the British Museum. We use a communicative ecologies framework to examine the context and determinants of the Samsung Centre digital learning design approach, how this evolved, and its impacts on the variety of digital interaction patterns that are offered and constantly refined by the Centre. On this basis, we discuss implications for the design of digital learning experiences in museums in increasingly interconnected ecosystems, within and outside museum walls.

Amalia Sabiescu, Katerina Charatzopoulou

Titel: Museum Experience Design
herausgegeben von: Arnold Vermeeren
Licia Calvi
Dr. Amalia Sabiescu
Verlag: Springer International Publishing
Electronic ISBN: 978-3-319-58550-5
Print ISBN: 978-3-319-58549-9
DOI: https://doi.org/10.1007/978-3-319-58550-5