Art, touch and meaning making: an analysis of multisensory interpretation in the museum

Christidou, Dimitra; Pierroux, Palmyre

doi:10.1080/09647775.2018.1516561

Cited by 33 publications

(18 citation statements)

References 33 publications

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“…Texmon Rygh exhibition, I was now asked to act as exhibition curator, contributing to a natural flow of both knowledge and experience from the first concept. The touchbased exhibition was followed up by researchers at the University of Oslo and ended up receiving a good deal of attention both nationally and internationally (see Christidou & Pierroux, 2018;Engen, in press;Espeland, 2016;Pierroux, 2017).…”

Section: From Pilot To Research: a Story From The Insidementioning

confidence: 99%

Practice-led Research in the Art Museum

Engen¹

2021

A & R

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As art museum education practices get more ambitious in form and content, and to a higher degree inform the overall audience strategies, the need for a research framing is required. The art museum is facing new and high expectation from society and policy makers in terms of being a relevant social and democratic platform inclusive for everyone. To manifest the changes, the institution must draw on all the different museal knowledges, not least the one about the audience. There has been a history of professional hierarchy and knowledge hegemony inside the art museum, where the object-based knowledge has trumped the practice-based. An important reason for this imbalance has been the lack of adequate practice related research methods and a theoretical framing within art museum education. Research in art museum has to a large extent operated within the classical art historical field, but more and more museums are looking to and are drawing on other models outside the museum disciplines to develop new adequate research standards. One of the museums that have undergone a profound change much due to a change in how they think about practice and research, is Tate with research leader Emily Pringle in the lead. Inspired by models within the arts and school system, they have developed a practice-led research method. In this article I will reflect on how and why it is important for art museum educators to do research on their own practice, drawing on both the Tate model and my own experience from working at the National Museum for over ten years.

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Section: From Pilot To Research: a Story From The Insidementioning

confidence: 99%

Practice-led Research in the Art Museum

Engen¹

2021

A & R

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“…Some analytical approaches hinge on what visitors to art galleries bring with them, such as their motivations for visiting (Falk and Dierking 2011 [1992]; Kirchberg and Tröndle 2015 ; Cotter et al 2021 ), or their class profile and educational background (Bourdieu and Darbel 1991 ). Others focus on the action contained within the art gallery, such as how visitors engage with one another (Lehn et al 2001 ; Bruder and Ucok 2011 ; Christidou 2018 ; Adipa 2019 ), with interpretative displays (Scott et al 2013 ; Steier et al 2015 ), or how bodies interact with objects in the gallery space (Griswold et al 2013 ; Christidou and Pierroux 2019 ). From those meaning-centered sociological studies that take the gallery site itself as the unit of observation, a key theme has come to dominate: interaction (Lehn et al 2001 ; Heath and vom Lehn, 2004 ; Bruder and Ucok 2011 ; Scott et al 2013 ; Steier et al 2015 ; Christidou 2018 ; Adipa 2019 ).…”

Section: Literature Reviewmentioning

confidence: 99%

Looking beyond interaction: exploring meaning making through the windows of an art gallery

Harris

2021

Am J Cult Sociol

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“…Studies exploring haptic interactions with museum objects and sculptures in gallery settings have found that touching the object can heighten visual engagement and foster longer and deeper experiences with, and appreciation of, the object (Christidou & Pierroux, 2019;Gallace & Spence, 2014b). Breakthrough technology has seen the use of haptics to enhance experience and perception and to augment reality.…”

Section: Engaging the Sensesmentioning

confidence: 99%

Receptive Arts Engagement for Health: A Holistic and Trans-Disciplinary Approach to Creating a Multisensory Environment

et al. 2020

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Multisensory environments are increasingly being used in health care settings with reported benefits including relaxation, supporting self-regulation, enhancing mood, and reducing chronic pain. However, limited research exists that explores the impact of multisensory environment design on engagement. In response, this article presents a qualitative study exploring the creative design attributes that cultivated participant engagement and shaped their overall experience of spending time in an artistically created multisensory environment: the Sensory-Art Space (SAS). A maximum variation approach to sampling was used to select 18 participants. Data were gathered via semi-structured interviews and were audio-recorded and transcribed verbatim before being analyzed thematically. Our findings produced three key themes. The first two themes were: the ambience of everything and variation: it’s always my choice, which identified aspects of the artistic design that fostered engagement and the sense of connection and ownership of the SAS captured in the third theme, a space that’s yours. Based on analysis of participant responses, creative design considerations were identified that could assist the development of future multisensory spaces and highlighted the importance of a holistic and curatorial approach to enhance engagement value.

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Art, touch and meaning making: an analysis of multisensory interpretation in the museum

Cited by 33 publications

References 33 publications

Practice-led Research in the Art Museum

Practice-led Research in the Art Museum

Looking beyond interaction: exploring meaning making through the windows of an art gallery

Receptive Arts Engagement for Health: A Holistic and Trans-Disciplinary Approach to Creating a Multisensory Environment

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