2007
DOI: 10.1080/15710880701333183
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Affective communication: towards the personalisation of a museum exhibition

Abstract: Affective communication is a key element in the design of museum exhibitions to engage with visitors and so enhance their visit experience.Museums are examples of what Auge´refers to as non-places. He asserts that non-places, such as museums, supermarkets and airports, provide people with different experiences (when compared with experiences in anthropological places) because people in a non-place are a collection of solitary individuals (as opposed to a social group), each of whom typically interacts with the… Show more

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Cited by 9 publications
(5 citation statements)
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“…Simulations suggest that the simplified models of structure formation and x-ray cluster dynamics are accurate enough to constrain new physics by building the new physics on top of these models. While simulations are not in perfect agreement with these models [31], agreement is good enough that these models serve as a useful tool in studying the evolution of structure.…”
Section: Jcap03(2008)006mentioning
confidence: 95%
“…Simulations suggest that the simplified models of structure formation and x-ray cluster dynamics are accurate enough to constrain new physics by building the new physics on top of these models. While simulations are not in perfect agreement with these models [31], agreement is good enough that these models serve as a useful tool in studying the evolution of structure.…”
Section: Jcap03(2008)006mentioning
confidence: 95%
“…However, whilst the formal Reading Room areas are indeed quiet, the British Library atrium hums with movement, conversation and at times music played live or by DJs. 5 In terms of curation then, the point I am making is that not only is the work of the curator to tell an impactful story through the objects and artefacts displayed, but also to consider the space in which the exhibition is held (Calosci, 2017;Mckay, 2007). I've argued so far that punk and the British Library worked well together in part because the atrium space in which the exhibition was situated was a publicly owned, co-curated space with few formal barriers to entry and particular atmosphere of collective (intellectual) activity, in clear contrast to museum space.…”
Section: Library Spacementioning
confidence: 99%
“…Product personalisation is a process that defines or changes the appearance or functionality of a product to increase its personal relevance to an individual (Blom 2000, Blom and Monk 2003, McKay 2007. When consumers personalise their products, they become active, empowered partners that serve as co-designers of their own products.…”
Section: Introductionmentioning
confidence: 98%