4,618 research outputs found
Let\u27s keep in touch : conversations about access and tactility.
Letâs Keep in Touch: Conversations about Tactility, a project collaboratively organized by social practice artist Carmen Papalia and curator Whitney Mashburn, presents conversations between Papalia and artists selected by Mashburn, in regard to tactile access of the chosen artistsâ works. The project aims to challenge visual biases in museum engagement, through dialogue with living artists.
Carmen Papalia takes social practice in a new direction as he applies it to the topic of accessibility. Using the tool of conversation, he creates strategic infrastructural activism and prompts exploration of non-visual perception.
In this thesis, Papaliaâs work will be examined and discussed with particular emphasis on the burgeoning field of tactility studies and Papaliaâs use of conversation within social practice to critique the accessibility of institutions and societal barriers. Additionally, relevant foundations and examples in social practice, institutional critique, and disability studies will be presented
Redefining Access: Embracing multimodality, memorability and shared experience in Museums
Disability access to museums, both physical and intellectual, is generally considered a minority issue. Whilst museums and cultural institutions acknowledge the moral and legal importance of equal access to their establishments, there is generally a conflict between the perceived number of potential visitors that will benefit and the cost implications. Set in the context of research on multisensory learning, this article discusses why disability access is, in fact, a majority issue. It discusses two case studies where an âaccess for allâ museological approach has been applied to access to the collections, with differing success. The article considers how an âaccess for allâ approach would potentially enhance learning, long-term memorability and the âcultural valueâ of a museum experience for all visitors
Include 2011 : The role of inclusive design in making social innovation happen.
Include is the biennial conference held at the RCA and hosted by the Helen Hamlyn Centre for Design. The event is directed by Jo-Anne Bichard and attracts an international delegation
Museums as disseminators of niche knowledge: Universality in accessibility for all
Accessibility has faced several challenges within audiovisual translation Studies and gained great opportunities for its establishment as a methodologically and theoretically well-founded discipline. Initially conceived as a set of services and practices that provides access to audiovisual media content for persons with sensory impairment, today accessibility can be viewed as a concept involving more and more universality thanks to its contribution to the dissemination of audiovisual products on the topic of marginalisation. Against this theoretical backdrop, accessibility is scrutinised from the perspective of aesthetics of migration and minorities within the field of the visual arts in museum settings. These aesthetic narrative forms act as modalities that encourage the diffusion of ânicheâ knowledge, where processes of translation and interpretation provide access to all knowledge as counter discourse. Within this framework, the ways in which language is used can be considered the beginning of a type of local grammar in English as lingua franca for interlingual translation and subtitling, both of which ensure access to knowledge for all citizens as a human rights principle and regardless of cultural and social differences. Accessibility is thus gaining momentum as an agent for the democratisation and transparency of information against media discourse distortions and oversimplifications
Towards Inclusion in Museums: Multisensory and Cross-Modal Translations/Interpretations of Visual Artworks
Access to art and cultural works is a fundamental human right, irrespective of abilities and human differences. However, traditional museum experiences heavily rely on visual perception, which creates barriers for visitorsâespecially for those who are unable to access art through sight. How can visual art be âtranslatedâ into other modalities, and what might be their affordances, limitations, and impact? This qualitative investigation focused on a graduate course on multisensory museum experiences embedded within a unique partnership between the Art Gallery of Ontario and OCAD University. Observations and interviews with students, instructors, museum visitors, and stakeholders (including community members with vision impairments and museum professionals) revealed: a range of translation/interpretation strategies, from âliteralâ (mapping visually perceived spatial properties of artworks to non-visual perceptual modalities) to âconstructivistâ (non-literal mappings that aim to engender audience memories that are akin to what might have inspired the original artwork); transformative student journeys, such as building meaningful connections with art; and significant impact on diverse audiences and students. This study revealed promising directions for inclusive museums, a preliminary technical language to support the design of translations/ interpretations, and a need for theoretically informed and tested standards to guide these designs and practices
THE MEANING OF PARTICIPATION Detecting the space for inclusive strategies in the Finnish and German museum context
Museoiden yleisötyöstrategioissa osallisuus, moninaisuus ja inkluusio ovat yleisiÀ kÀsitteitÀ. Ne sanallistavat museoiden motivaation ja tarpeen tÀyttÀÀ niihin kohdistuvan yhteiskunnallisen odotuksen olla kaikille avoimia. Jokainen saa kÀydÀ museossa ja osallistua aktiviteetteihin. Mutta onko tÀmÀn osallistuminen sellaista, joka edistÀÀ strategioissa mainittua osallisuutta tai inkluusiota?
Kriittisen ja etnografisen tarkastelun kautta kattotermi âyleisötyöâ suomalaisella ja saksalaisella museokentĂ€llĂ€ paljastaa, ettĂ€ osallisuuden ja inkluusion kĂ€sitteet voidaan ymmĂ€rtÀÀ eri tasoilla. Ne voivat viitata esteettömÀÀn tiedonsaantiin ja tiloissa kulkemiseen tai ennalta suunniteltujen aktiviteettien toteuttamiseen. Museoalan kirjallisuus toteaa tĂ€mĂ€nkaltaisen osallistamisen riittĂ€mĂ€ttömĂ€ksi museoiden tavoitteen ollessa osallistujien kuuluvuuden tunne. Siten, museota tarkastellaan kriittisesti kĂ€sitteenĂ€, jossa osallistavan yleisötyön yleisimpiĂ€ kĂ€ytĂ€ntöjĂ€ teoretisoidaan ja kyseenalaistetaan. Kuuluvuuden tunteeseen sisĂ€ltyvĂ€t merkityksellisyys, samaistuttavuus ja omistajuus, joiden saavuttaminen yleisötyön kontekstissa kaipaa ohjenuoria. Tarjonta, jonka odotetaan edistĂ€vĂ€n strategioissa esiintyvÀÀ osallisuutta museoissa, esiintyy kahden ÀÀripÀÀn, ennalta suunniteltujen aktiviteettien ja jaetun vallan nĂ€yttelysuunnittelussa vĂ€lillĂ€.
TÀmÀ synnyttÀÀ tarpeen tarkastella yleisötyössÀ kÀytettyjen termien, kuten osallistumisen, inkluusion, moninaisuuden ja saavutettavuuden sisÀltöjÀ. KÀytettyjen kÀsitteiden ymmÀrtÀmistÀ voidaan parantaa, kun niitÀ tarkastellaan niiden kÀytÀnnön merkityksen tasolla ja arvioidaan, toteutuvatko nÀmÀ odotukset nykyisillÀ yleisötyön vakiometodeilla. YmmÀrtÀmisen kautta voidaan luoda uusia tekemisen tapoja ja siten todellista osallisuutta, joka voi mahdollistaa osallistujan inkluusion museossa. Koska suurinosa museokokemuksista luodaan nÀyttelysaleissa ja vastaanotossa työskentelevÀn henkilökunnan myötÀvaikutuksesta, ymmÀrtÀminen voi edistÀÀ myös asiakaspalveluhenkilökunnan arvostusta, joka ei yleensÀ ole osallinen nÀyttelysuunnitteluprosessien ensimmÀisissÀ vaiheissa.
Pohdinta kumuloituu museon ja yleisön vÀlisen suhteen kÀsitteeseen, jota havainnoillistetaan museo-yleisö-suhteen kaaviossa (museum-audience relationship blueprint). TÀssÀ suhteessa osallistujien valta mÀÀritellÀ ja pÀÀttÀÀ omien kokemustensa ehdot ja puitteet on jakautunut kentÀllÀ jokseenkin epÀtasaisesti. Todellisen osallisuuden ja inkluusion nimissÀ tÀtÀ suhdetta tulee voida avata. Kysymys on lopulta osallistujien todellisesta osallisuudesta ja omistajuudesta, museoiden sidosryhmien tuntemuksesta, yllÀpidetyistÀ suhteista entisten osallistujien ja museoiden vÀlillÀ ja nÀkymÀttöminen esteiden tunnistamisesta ja tunnustamisesta yleisötyön kontekstissa.
TĂ€mĂ€ vĂ€itöskirja ehdottaa inkluusio-orientoitunutta osallistumismallia (inclusiondirected participation model), joka perustuu palvelumuotoiluun pohjautuvaan lĂ€hestymistapaan. Osallistumismallissa yhdistyvĂ€t museokentĂ€n odotukset osallistumiseen liittyvĂ€stĂ€ yleisötyöstĂ€ ja palvelumuotoilun teoria ja filosofia. Osallistumisen viiden osa-alueen â tutkimuksen; yhteistyön ja kommunikoinnin; kestĂ€vyyden; mielekkyyden ja omistajuuden; sekĂ€ vastoinkĂ€ymisten â kautta konsepti ehdottaa osallistumisen iteratiivista sykliĂ€, joka mahdollistaa osallistujien vallan yhteissuunnitteluprosessissa, edistÀÀ kĂ€vijĂ€tutkimusta yksittĂ€isissĂ€ instituutioissa ja huomioi kehittĂ€mishankkeiden avoimen luonteen. TĂ€mĂ€n ehdotuksen tavoitteena on siis edistÀÀ palvelumuotoilun syvĂ€llisempÀÀ tunnustamista ohjenuoraksi museoille, kun tavoitteena on saavuttaa uuden museologian (New Museology) asettamat vaatimukset osallistumiselle ja edistÀÀ museoiden yhteiskunnallisen vastuun toteutumista meille kaikille kuuluvasta kulttuuriperinnöstĂ€.In museumsâ strategies for Audience Development, concepts such as participation, diversity, and inclusion are common. They state the museumsâ initial motivations and need to fulfill their societal xpectations, which is to be âopen for all.â Everyone is welcome to visit museums and take part in the activities therein. However, does this participation promote the type of participation or inclusion mentioned in their
strategies?
Through a critical and ethnographic exploration of the umbrella term âAudience Developmentâ in the Finnish and German museum domains, it becomes evident that the very meanings of the concepts of participation and inclusion are understood on differing levels. They can indicate barrier-free information and access to spaces or the realization of pre-designed activities. The literature on the museum field states this type of participation insufficient when museums aim for the feeling of belonging among participants. The critical examination discusses the museum as a concept and theorizes and questions the most common practices in participative Audience Development. The âfeeling of belongingâ includes meaningfulness, relevancy, and ownership. Notably, achieving these within the context of Audience Development still lacks specific guidelines. Moreover, the offerings expected to promote participation in museums occur at two extremes: pre-designed activities and shared power in exhibition design.
A need to examine the contents of the terms used in the strategies such as âparticipation,â âinclusion,â âdiversity,â and âaccessibilityâ is evident. The understanding of these terms can be improved when they are examined on the level of their practical functions and evaluated as to whether the standard methods of Audience Development realize these practical expectations. The emerging understanding promotes new ways of doing and, thus, ârealâ participation, which can lead to the participantsâ inclusion in museums. Most museum experiences are created with the influence of frontline staff, so this understanding can also promote the value laid on this portion of the staff that is usually not included in the first phases of the exhibition planning processes.
This discussion evolves to focus on the museum-audience relationship, which will be exemplified in the form of a museum-audience blueprint. In this relationship, the participantsâ power over the terms and circumstances of their experiences is divided unevenly in the field. In the name of ârealâ participation and inclusion, this relationship should be able to be opened. The issue eventually concerns participantsâ involvement and ownership, the museumsâ knowledge about stakeholders, sustainable relationships with former participants, and recognizing and acknowledging the invisible barriers in Audience Development.
By leveraging the Service Design-based approach, this dissertation proposes an inclusion-directed participation model that combines the participatory expectations of the museum field with the tools and philosophy of Service Design. Through the five parts of participation, namely, research, collaboration and communication, sustainability, meaningfulness and ownership, and obstacles, the concept proposes an iterative cycle of participation that would allow participants to influence the codesign process, promote visitor research in individual institutions, and acknowledge the open-ended nature of developmental projects. This proposal aims to promote the acknowledgment of Service Design as a guideline in the museum field more profoundly when the goal is to achieve the participatory aims of New Museology and promote the fulfillment of the museumsâ societal responsibilities concerning access to and participation in culture
Communicating the Past in the Digital Age: Proceedings of the International Conference on Digital Methods in Teaching and Learning in Archaeology (12-13 October 2018)
Recent developments in the field of archaeology are not only progressing archaeological fieldwork but also changing the way we practise and present archaeology today. As these digital technologies are being used more and more every day on excavations or in museums, this also means that we must change the way we approach teaching and communicating archaeology as a discipline. This volume presents the outcome of a two-day international symposium on digital methods in teaching and learning in archaeology held at the University of Cologne in October 2018. Specialists from around the world share their views on the newest developments in the field of archaeology and the way we teach these with the help of archaeogaming, augmented and virtual reality, 3D reconstruction and many more
SSAT 2021: abstracts of the International Conference on Smart, Sustainable, Social, and Accessible Tourism
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Proceedings of the International Workshop âRe-Thinking Technology in Museums: towards a new understanding of peopleâs experience in museums"
Proceedings of the International Workshop âRe-Thinking Technology in Museums: towards a new understanding of peopleâs experience in museums
Making Art Accessible to All: Co-Creating Multi-sensory Art with Visually Impaired People
Blind and visually impaired people experience many limitations when encountering artworks, and most of the general public lack attention and understanding of the visually impaired community. Despite previous research efforts to make visual art more accessible to blind and visually impaired people through audio descriptions, tactile graphics, or digital media technologies, they still face challenges in experiencing art independently and feeling an emotional connection with artworks. This study explores how to create multi-sensory art for blind and visually impaired people to awaken a new form of experience. The study conducted semi-structured interviews to understand the experiences and perspectives of curators and blind artists on multi-sensory art. At the same time, by analyzing two case studies on co-creation with the visually impaired community, this study explores practices of involving the visually impaired community in the creative process. In addition, this study aims to investigate the potential of multi-sensory experiences to enhance the enjoyment and accessibility of art and culture for the visually impaired community. This study will broaden the knowledge about vulnerable communities by exploring the possibility of the visually impaired community as co-designers in multi-sensory art. This knowledge will benefit galleries, museums, and disabled communities and may lead to a positive reconsideration of the importance of an expanded sensory culture in our society
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