Stories, journeys and smart maps: an approach to universal access

Abstract

This paper proposes a new approach to universal access based on the premise that humans have the universal capacity to engage emotionally with a story, whatever their ability. Our approach is to present the “story” of museum resources and knowledge as a journey, and then represent this journey physically as a smart map. The key research question is to assess the extent to which our “story” to journey to smart map’ (SJSM) approach provides emotional engagement as part of the museum experience. This approach is applied through the creation of a smart map for blind and partially sighted (BPS) visitors. Made in partnership with Titanic Belfast, a world-leading tourist attraction, the interactive map tells the story of Titanic’s maiden voyage. The smart map uses low-cost technologies such as laser-cut map features and software-controlled multi-function buttons for the audio description (AD). The AD is enhanced with background effects, dramatized personal stories and the ship’s last messages. The results of a reception study show that the approach enabled BPS participants to experience significant emotional engagement with museum resources. The smart model also gave BPS users a level of control over the AD which gave them a greater sense of empowerment and independence, which is particularly important for BPS visitors with varying sight conditions. We conclude that our SJSM approach has considerable potential as an approach to universal access, and to increase emotional engagement with museum collections. We also propose several developments which could further extend the approach and its implementation.

The Atmospheric Elements of the Egyptian Museums and Their Effect on the Egyptians' Intentions to Revisit

“…Mode rn technology is similarly important in improving the experience of the visitor while positively affecting their impression since it has the ability to increase engagement without compromising the authenticity of the artifacts (Hammady et al, 2020;Zaher, 2021). Successful museum design cannot be complete without clear and easy-to-follow maps, they serve as a heritage intermediary between viewers and cultural artifacts (Nikolakopoulou et al, 2022), categorize and organize the museum space (Madsen and Madsen, 2016), keep people engaged and entertained along the busy queues in order to make their wait more enjoyable and informative (Su and Teng, 2018), and has the ability to organize the artifacts as a journey using smart maps (Wang et al, 2022). Therefore, the following hypothesis is suggested:…”

Exploring geo-literacy in museum educational programmes at the Iziko Museums in Cape Town, South Africa

“…For that reason, geographical thinking is applicable not only to settings of formal learning, such as universities or schools, but also to those of informal learning spaces, such as museums (Shapiro, Hall & Owens, 2017). Malanson, Scuderi, Moser, Cort, Willmott, Resler, Warner and Mearns (2014) urge museum curators to be aware of the need to create opportunities for learners to be exposed to the various sub-fields of the human-environment system (Wang, Crookes, Harding, & Johnston, 2021). The way in which an exhibition is curated, allows learners an insight into wider societal needs, aspirations, and geographical imaginations (Yoo, 2021).…”

“…The way in which an exhibition is curated, allows learners an insight into wider societal needs, aspirations, and geographical imaginations (Yoo, 2021). By stimulating geographical imaginations, the social, political, and cultural messages in an exhibition teach learners about themselves and the world in which they live now and are likely to live in the future (Wang et al, 2021). Parisi-Moreno, Llonch-Molina and Selfa (2021) indicate that for learners, a museum visit is a transformative experience, where they are presented with objects and then re-evaluate or transform their knowledge and thinking skills.…”

“…During a single visit, but also as returnees, learners observe museum spaces being used to describe, represent and interpret how multiple exhibits or exhibition spaces can be linked to the outside world . In this regard, their presence reminds museum curators to ask new questions, such as how learners use exhibitions as interpretive resources in and across exhibition spaces (Hooper-Greenhill, Phillips & Woodham, 2009;Wang et al, 2021). It is a reminder that the visual and interactive nature of exhibitions could foster different interpretations and ways of making sense of the world (Shapiro et al, 2017;Raaijmakers et al, 2021).…”

“…It is a decision-making process that blends management needs and resource considerations with visitor needs and desires, to ascertain the most effective way of conveying a message to a target audience (Bakker et al, 2020). The goal is to relate content, in a meaningful way, to a visitor's own experience, thereby provoking emotion, thought or further inquiry into a subject (Wang et al, 2021;Yun, 2018). Schmitt and Labour (2021) note that most interpretive plans are based on defining themes that are important to communicate to a range of audiences.…”