Object Relations in the Museum: A Psychosocial Perspective

This article theorises museum engagement from a psychosocial perspective. With the aid of selected concepts from object relations theory, it explains how the museum visitor can establish a personal relation to museum objects, making use of them as an ‘aesthetic third’ to symbolise experience. Since such objects are at the same time cultural resources, interacting with them helps the individual to feel part of a shared culture. The article elaborates an example drawn from a research project that aimed to make museum collections available to people with physical and mental health problems. It draws on the work of the British psychoanalysts Donald Winnicott and Wilfred Bion to explain the salience of the concepts of object use, potential space, containment and reverie within a museum context. It also refers to the work of the contemporary psychoanalyst Christopher Bollas on how objects can become evocative for individuals both by virtue of their intrinsic qualities and by the way they are used to express personal idiom

A Reflective Encounter With the Fine Sand Area in a Nursery School Setting

This article draws on a model of reflection that involves creating meanings through repeated encounters with evocative objects. Responses to one such evocative object, a 20-second video clip of children playing in the fine sand area, illustrates the “turning toward” and then “turning away” from the object to engage with broader themes. Parten’s play types are used when analyzing children’s play in the fine sand area (the evocative object). The focus then turns away to themes of English as a second language, messy play, energies of childhood, and Foucault’s docile bodies. The intention was to integrate loosely formulated research aims relating to quality of the physical environment within the evolving life of the nursery setting to encourage a developing research orientation and reflective dis-position. This way of approaching practitioner research is well adapted to a longer-term engagement with enduring areas of interest, such as developing the potential of the physical environment

Designing assisted living technologies 'in the wild' : preliminary experiences with cultural probe methodology

Background There is growing interest in assisted living technologies to support independence at home. Such technologies should ideally be designed ‘in the wild’ i.e. taking account of how real people live in real homes and communities. The ATHENE (Assistive Technologies for Healthy Living in Elders: Needs Assessment by Ethnography) project seeks to illuminate the living needs of older people and facilitate the co-production with older people of technologies and services. This paper describes the development of a cultural probe tool produced as part of the ATHENE project and how it was used to support home visit interviews with elders with a range of ethnic and social backgrounds, family circumstances, health conditions and assisted living needs. Method Thirty one people aged 60 to 98 were visited in their homes on three occasions. Following an initial interview, participants were given a set of cultural probe materials, including a digital camera and the ‘Home and Life Scrapbook’ to complete in their own time for one week. Activities within the Home and Life Scrapbook included maps (indicating their relationships to people, places and objects), lists (e.g. likes, dislikes, things they were concerned about, things they were comfortable with), wishes (things they wanted to change or improve), body outline (indicating symptoms or impairments), home plan (room layouts of their homes to indicate spaces and objects used) and a diary. After one week, the researcher and participant reviewed any digital photos taken and the content of the Home and Life Scrapbook as part of the home visit interview. Findings The cultural probe facilitated collection of visual, narrative and material data by older people, and appeared to generate high levels of engagement from some participants. However, others used the probe minimally or not at all for various reasons including limited literacy, physical problems (e.g. holding a pen), lack of time or energy, limited emotional or psychological resources, life events, and acute illness. Discussions between researchers and participants about the materials collected (and sometimes about what had prevented them completing the tasks) helped elicit further information relevant to assisted living technology design. The probe materials were particularly helpful when having conversations with non-English speaking participants through an interpreter. Conclusions Cultural probe methods can help build a rich picture of the lives and experiences of older people to facilitate the co-production of assisted living technologies. But their application may be constrained by the participant’s physical, mental and emotional capacity. They are most effective when used as a tool to facilitate communication and development of a deeper understanding of older people’s needs

Empirical Challenges in Organizational Aesthetics Research: Towards a Sensual Methodology

Despite growing scholarly interest in aesthetic dimensions of organizational life, there is a lack of literature expressly engaging with the methodological mechanics of 'doing aesthetics research'. This article addresses that gap. It begins with an overview of the conceptual idiosyncrasies of 'aesthetics' as a facet of human existence and maps out the challenges these pose for empirical research methodology. A review of methodological approaches adopted to date in empirical studies of organizational aesthetics is then presented. The remainder of the article draws on the author's experiences and suggests methods and techniques to address both conceptual and practical challenges encountered during the execution of an organizational aesthetics research project. The article calls for a firmer focus on the aesthetic experiences of organizational members in addition to those of researchers and concludes with some suggestions as to the future of such 'sensual methodologies' </jats:p

FM radio: family interplay with sonic mementos

Digital mementos are increasingly problematic, as people acquire large amounts of digital belongings that are hard to access and often forgotten. Based on fieldwork with 10 families, we designed a new type of embodied digital memento, the FM Radio. It allows families to access and play sonic mementos of their previous holidays. We describe our underlying design motivation where recordings are presented as a series of channels on an old fashioned radio. User feedback suggests that the device met our design goals: being playful and intriguing, easy to use and social. It facilitated family interaction, and allowed ready access to mementos, thus sharing many of the properties of physical mementos that we intended to trigger

Sonic souvenirs: exploring the paradoxes of recorded sound for family remembering

Many studies have explored social processes and technologies associated with sharing photos. In contrast, we explore the role of sound as a medium for social reminiscing. We involved 10 families in recording 'sonic souvenirs' of their holidays. They shared and discussed their collections on their return. We compared these sounds with their photo taking activities and reminiscences. Both sounds and pictures triggered active collaborative reminiscing, and attempts to capture iconic representations of events. However sounds differed from photos in that they were more varied, familial and creative. Further, they often expressed the negative or mundane in order to be 'true to life', and were harder to interpret than photos. Finally we saw little use of pure explanatory narrative. We reflect on the relations between sound and family memory and propose new designs on the basis of our findings, to better support the sharing and manipulation of social sounds

The Gameful Museum: Developing a Location-Based Game Design Framework for Engagement and Motivation

The popularity of location-based games, which blend digital and physical gameplay in specific real-world locations, has been rising in recent years. Research in museum studies looking into these games as engagement tools has so far been limited to individual case studies or sporadic overviews of play and games that do not explore the relationship between game design, location, gameplay and the museum experience. This practice-led thesis addresses this gap through the development of a game design framework and guidelines to create location-based games in museums, combined with a study of the impact of the designed experiences on audiences’ motivation to visit and engage with museum content. The findings and framework proposed are relevant for museum professionals and game designers who are interested in developing this practice while benefiting from guidance grounded in real-world research. Methodologically, I supplemented a study of past experiences with a first-person gameplay analysis, the results of which informed the design and examination of case studies of games for Exeter’s Royal Albert Memorial Museum & Art Gallery (RAMM) developed in collaboration with the museum staff and external game designers. Findings suggest that location-based games benefit museums by creating added motivation to visit, attracting new and existing audiences, increasing and diversifying engagement with the museum content, and to a lesser degree, supporting knowledge acquisition. Structuring visits into games limits the possible actions of players while offering agency within those limitations, making the players part of a story and giving them challenges to complete, encouraging visitors to become more active and invested in exploring the space and the content displayed. I conclude this thesis by proposing the concept of the gameful museum as a possible path for museums as institutions of learning and entertainment, offering the location-based game design framework as an instrument to work towards audience development and engagement and highlighting the field’s future potential

Crafting Critical Heritage Discourses into Interactive Exhibition Design

This paper argues how a more reflective design practice that embraces critical discourses can transform interactive exhibition design and therefore the museum visiting experience. Four framing arguments underpin our exhibition design making: the value of materiality, visiting as an aesthetic experience, challenging the authorized voice, and heritage as a process. These arguments were embodied through design, art and craft practice into one interactive exhibition at a house museum. We draw from our design process discussing the implications that adopting an approach informed by critical heritage debates has on exhibition design and suggest three sensitizing concepts (polyvocal narratives, dialogical interaction, interweaving time and space) bridging the practice of interactive exhibition design and critical heritage theory

Provocative conservation/evocative design - contemporary design intervention in historic urban landscape

The notion of authenticity has been intensively debated in the field of heritage conservation. However, this slippery intellectual term is hardly instructive for urban conservation and design practice for historic environment in contemporary cities. The issues of authenticity leave us an unsolved gap in both conservation theory and methodology. How should we perceive the ‘authenticity’ of a place? How does a new design respect and reflect this notion? There is no single answer for these questions. Through this research, the idea of progressive authenticity has been gradually formed and explored. It argues that what is happening ‘now’ is more essential to authenticity. How should we respect ‘now’ in a landscape that the ‘past’ needed to be conserved? This is the ultimate question to the author as a designer. The research uses a series of design experiments to illustrate different ideas of authenticity, the conflict between different perspectives of understanding this notion and the view to open up various interpretations of authenticity. Meanwhile, this research explores how the meanings of a historic place could be presented and experienced differently from the conventional heritage interpretations. ‘Provocative’ and ‘Evocative’ are used as keywords for a range of designs, which encourage the users to understand, think about and interact with the historic site differently