Deliverables The interactive desk The Interactive Desk is an interactive museum technology in which users move keycards across a physical map in order to display information that is related to museum objects geographical origins and travels through Europe. This information is projected onto the blank pages of a book using a hidden projector. Video-based Methods. A distinctive approach to the analysis of visitor behaviour in museums and galleries. These methods centre on audio-visual recordings of naturalistic visitor conduct We have developed a distinctive approach to the analysis of visitor conduct and communication in museums and galleries. Whilst many approaches in museum studies use questionnaires, interviews or field observations, this approach draws on the use of audio-visual recordings to develop naturalistic analyses of action and interaction. The approach is informed by ethnomethodology and conversation analysis and progresses through the fine-grained analysis of sequences of social interaction. It takes into account not only the talk of visitors, but the relationship between talk and embodied conduct. It is distinctive in that unlike other approaches it considers the detailed analysis of action and interaction at the exhibit-face. The methods have been disseminated via talks and workshops with museum professionals as well as through academic journal publications. Published descriptions of the approach include: vom Lehn, D., Heath, C. and J. Hindmarsh (2002) Video-based field studies in museums and galleries. Visitor Studies Today!, 5, 3, pp. 15-23. Heath, C. and J. Hindmarsh (2002) Analysing Interaction: Video, ethnography and situated conduct. In May, T. (ed.) Qualitative Research in Action. London: Sage. pp. 99-121. The Storytent: A mini-immersive environment for interactive experiences The storytent is a mini-immersive environment for interactive experiences where the display takes the form of an A-frame tent. Users sit inside in order to interact with 3D models, graphics and sound. Interaction is achieved using a turntable to control the 3D viewpoint. Video-tracked flashlights for interactive public displays Video-tracked flashlights are a new technique for interactive public displays. We have developed a sensing technique for tracking the images of multiple flashlight beams so that they can trigger graphics and sound when pointed at walls, posters and other surfaces. The virtual touch machine The Virtual Touch machine is an interactive museum exhibit that allows exploration of the material qualities of objects. Visitors place objects on a table with embedded RFID and use a wand device containing two accelerometers to virtually tap and move the objects. Analyses of Social Interaction in Museums and Galleries. Video-based studies that derive innovative findings regarding the international organisation of the museum visit We have undertaken a series of video-based studies of visitor behaviour in a number of museums and galleries across Europe. They concern the ways in which visitors in interaction with others approach, encounter, explore, animate and appreciate various types of exhibits from paintings to interactive installations. They contrast with many existing studies of visitor behaviour in that they concern the detailed exploration of what happens at the exhibit-face. In addition they take seriously the real-time embodied conduct of visitors. They would be of interest to scholars concerned with social interaction (including sociologists, psychologists, anthropologists, linguists and other), as well as museum managers, curators, exhibit and exhibition designers and technology developers interested in designing for museums, galleries and public spaces more generally. The studies have been presented at numerous conferences and workshops around Europe. In addition, they are available in published form in the following journal articles and conference proceedings: Heath, C. and D. vom Lehn (in press, 2004) Configuring Reception. Theory, Culture and Society. Heath, C. and D. vom Lehn (in press, 2004) Interaction and Interactives. Public Understanding of Science. Hindmarsh, J., Heath, C., vom Lehn, D. and J. Cleverly (in press, 2004) Creating Assemblies in Public Environments: Social interaction, interactive exhibits and CSCW. Journal of Computer Supported Cooperative Work. vom Lehn, D. and C. Heath (2003) Displacing the Object: Mobile technologies and interpretive resources. In the Proceedings of Cultural Institutions and Digital Technology (ICHIM 03). Paris. vom Lehn, D., Heath, C. and J. Hindmarsh (2003) La découverte interactive des objets de musée. Alliage; Culture-Science-Technique, 50-51, pp. 165-177. Heath, C., Luff, P., vom Lehn, D., Hindmarsh, J. and J. Cleverly (2002) Crafting Participation: Designing ecologies, configuring experience. Visual Communication, 1, 1, pp. 9-34. vom Lehn, D., Heath, C. and J. Hindmarsh (2002) Video-based field studies in museums and galleries. Visitor Studies Today!, 5, 3, pp. 15-23. Heath, C. C. & D.vom Lehn (2002) Misconstruing Interaction. In Hinton, M. (ed.) Interactive Learning in Museums of Art and Design London: Victoria and Albert Museum. They are also avialble in SHAPE deliverables: see www.shape-dc.org The radio The radio: is an interactive museum technology that allows visitors to listen to previously recorded opinions left by curators, docents and other visitors. Visitors tune in to channels that are available for each object in a collection in order to hear the opinions replayed. The combination machine The Combination Machine is an interactive museum technology where visitors place tagged physical objects and keycards into an antique trunk which has an embedded RFID aerial in the base so as to gain more information about and make connections between them. The Augurscope: A stand-mounted display for viewing 3D reconstructions outdoors We have developed a wheelable stand-mounted 3D display for use outdoors. Users push it around a site of special interest in order to view a 3D model (e.g., a historical reconstruction) as it would appear from different physical vantage points. The device uses CPS and onboard accelerometers for positioning and movement sensing. A series of interactive craftworks designed by Jason Cleverly and KCL. They use video and artefacts to produce curious relationships between spectators and museum objects The project included the development of a series of low tech interactive craftworks designed by the craftmaker Jason Cleverly (University of Staffordshire) in collaboration with King's College London (and in particular Christian Heath, Jon Hindmarsh and Dirk vom Lehn). These craftworks were used to scope the design space of museums and galleries for the project. They facilitated naturalistic analyses of the ways in which people encounter, explore and appreciate them. They also provided opportunities to use the studies of visitor behaviour to inform the design of low tech installations that aimed to engender interaction amongst visitors. They were exhibited and used by members of the public. The series of craftworks are summarised below: Ghost Ship. It uses combinations of video cameras and monitors to place the spectator into an artwork. It was exhibited at the SOFA Exposition (Chicago, USA) in 2001. Keepsake. It uses a combination of artefacts and video to interweave action in different rooms within the gallery. Exhibited at Beatrice Royal Gallery (UK) in 2002. A Chamber of Commerce. It presents live video images of activities in nearby locations in a single cabinet. It was exhibited at the Chelsea Crafts Fair (UK) in 2002. The Universal Curator. It enables visitors to curate their own exhibition using replica museum artefacts and video technologies, so that assemblies of objects can be placed on a 'stage' and displayed on a nearby monitor. Exhibited at the Hunt Museum (Ireland) in 2003. The Narrative Engine. It extends the concept of The Universal Curator as visitors can attach a narrative to an image of their creation. Exhibited at Shipley Arts Gallery (UK) in 2003. Aside from their public display, analyses of the use of these exhibits have ben presented at numerous conferences and workshops, both academic and practitioner-based. There is currently one published article summarising the analysis of Ghost Ship and Keepsake. This is: Hindmarsh, J., Heath, C., vom Lehn, D. and J. Cleverly (in press, 2004) Creating Assemblies in Public Environments: Social interaction, interactive exhibits and CSCW. Journal of Computer Supported Cooperative Work. Others will follow in due course. The tone table The tone table is an interactive museum exhibit where groups of visitors use trackballs to collectively interact with graphics that are projected onto a tabletop and spatialised sound that is projected around it. A physical simulation model creates an engaging experience. Paper a glue The term paper as glue refers to way of connecting multiple interactive displays together into an overall visiting experience. RFID-tagged sheets of paper identify visitors and their visiting history at each display and can be easily annotated by users as they carry them around a historical site of special interest. The sandpit The sandpit is a collaborative interactive display for museums in which groups of users use interactive flashlights to dig for hidden graphical images in a floor projection of simulated sand. Two users working together can dig deeper than one working alone. Design sensitivities for interactives. Using findings from a range of our visitor studies. They aim to sensitise interested parties to some of the critical issues relevant for designing exhibits We have used video-based studies of action and interaction to develop a catalogue of design sensitivities to inform the design of exhibits and installations. It should be noted that these are not to be treated as strict design guidelines or recommendations. We have found that best practice guidelines tend to have limited utility in the museum world, because each new exhibit raises different issues and demands. As a result, any tightly defined recommendation tends to become rather strained when faced with practical situations with specific content, design aims and learning objectives. We would rather not constrain practitioners into focusing on particular topics or into using particular combinations of interface or display technologies and would rather sensitise them to some of the critical issues to consider if interested in engendering or encouraging social interaction between visitors and around assemblies of artefacts. They are of most relevance to those interested in designing, developing and deploying interactive exhibits in museums and galleries. They may also be of interest to those designing new technologies for public spaces. The design sensitivities are outlined in the following publicly available documents: Hindmarsh, J., Heath, C., vom Lehn, D. and J. Cleverly (in press, 2004) Creating Assemblies in Public Environments: Social interaction, interactive exhibits and CSCW. Journal of Computer Supported Cooperative Work. Hindmarsh, J. et al. (2003) Interaction as a Public Phenomenon. SHAPE Deliverable 2.1. Project Number IST 26069. http://www.shape-dc.org/ Searching for OpenAIRE data... There was an error trying to search data from OpenAIRE No results available
