What's in the Drawer?

Dudley, Sandra H.

doi:10.2752/174589314x14023847039791

Cited by 8 publications

(4 citation statements)

References 7 publications

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“…Different sensory modes are entangled within haptic experiences. Dudley's (2014) analysis of visitors' experience of opening drawers of objects at the Pitt Rivers museum makes a similar point; opening the drawers seemed to tap into a haptic imagination, where "the eye feels". When museum designers, architects and learning staff design and imagine exhibitions or activities, children's museum experiences are conceived as involving a greater or a lesser degree of touch.…”

Section: How Can We Convey What Objects Can and Cannot Be Touched? Ifmentioning

confidence: 97%

Exploring abstract, physical, social and embodied space: developing an approach for analysing museum spaces for young children

Hackett

Procter

Kummerfeld³

2018

Children's Geographies

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This paper describes a collaboration between museum staff and university researchers to develop a framework for analysing museum spaces from the perspective of young children. The resultant APSE (abstract, physical, social and embodied) framework draws on spatial theories from childhood studies and architecture to consider children's museum visiting from a spatial perspective. Starting with space not only foregrounds the role places, objects and bodies play in how experiences are constituted, but also resists linearity and predictability of mainstream educational policy discourses about young children's learning. As place, children and objects entangle together, they design and make one another. We draw upon Massey's description of the "chance of space", in which people, objects and places become entangled in unpredictable and unknowable ways, to consider the potential of the APSE framework to offer alternative framings of children in museums.

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Section: How Can We Convey What Objects Can and Cannot Be Touched? Ifmentioning

confidence: 97%

Exploring abstract, physical, social and embodied space: developing an approach for analysing museum spaces for young children

Hackett

Procter

Kummerfeld³

2018

Children's Geographies

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“…With the 'sensory shift', modern museums have begun to reconsider their limitations to the sensory use of objects, and they are starting to explore the potential of multi-sensory solutions to improve knowledge transfer in museums and increase engagement with visitors by connecting them with the sensory properties of historic objects, their contexts and the stories behind, also providing emotionally enriched experiences. With increasing numbers of studies indicating that interacting with sensory objects have social, cognitive and even therapeutic value, especially for people with disabilities [46][47][48][49][50][51][52], museums are enhancing their valuation on 'touch' which is regarded as a therapy tool and a cultural communication platform [53][54][55][56], 'sound' which creates a sense of spatial experience [57,58] and 'smell' which triggers personal memories, imagination and emotion [59][60][61].…”

Section: Senses As Informationmentioning

confidence: 99%

Museum as a Sensory Space: A Discussion of Communication Effect of Multi-Senses in Taizhou Museum

Wang

2020

Sustainability

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Museums are much more than repositories of cultural relics to be preserved for the future. They are centers of learning, community centers, social hubs—even places of healing and contemplation. The museum experience is a multilayered journey that is proprioceptive, sensory, aesthetic and social. In this context, this study takes the case of the ‘People at the Seashore’ multisensory area in the folk exhibition of Taizhou Museum, applies three data collection techniques (questionnaire, in-depth interview and observation) to assess various types of experiences (object, cognitive, social and introspective) and effects (visceral, cognitive and emotional) in the museum, and analyzes the practical effect and relative merits of the multisensory approaches used in this exhibition through the lens of communication effect. Accordingly, multi-senses acquire creative significances upon the attractive and holding power of museum exhibitions, specifically the emotional relevance and resonances. Thus, museums should be more concerned with the connection and complex interaction between senses and experience, meanwhile be active with visual, auditory, olfactory, taste and proprioceptive experiences and engage in the potential impact on visitors from cognitive and emotional aspects, which is an important trend for the museum’s future development and also the vision of this study.

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“…Furthermore, museum objects have been open to on-going re-conceptualisation as dominant discourses of knowledge and historical narratives have been challenged. Understanding museum objects as themselves 'complex material objects' (Dudley 2014) rather than mediating specific learning about the world or lives of other humans has been written about in the wider museum literature (Dudley 2014;Geoghegan and Hess 2015;Howes 2014;Woodall 2015). However, these ideas are seldom applied to thinking about young children in museums (for exception, see MacRae 2007).…”

Section: Matilda and The Sponges: Readingmentioning

confidence: 99%

Vibrancy, repetition and movement: posthuman theories for reconceptualising young children in museums

MacRae

Hackett

Holmes

et al. 2017

Children's Geographies

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This paper argues for an expanded field of inquiry to conceptualise young children in museums. Drawing on Murris' [2016. The Post-Human Child: Educational Transformation Through Philosophy with Picturebooks. London: Routledge] analysis of childhood constructions, we discuss how cognitive and socio-constructivist models of the child dominate childhood and museum studies. We argue for the potential of Murris' figure of the posthuman child to reconceptualise children in museums. This perspective offers a greater focus on the potency of objects themselves, and the animacy of the non-human aspects of the museum. It is also underpinned by a theoretical shift from representation to nonrepresentation [Anderson, B., and P. Harrison. (2010) "The Promise of Non-representational Theories." In Taking-place: Non-representational Theories and Geography. Farnham: Ashgate], presenting us with new ways to address questions such as 'what does that mean?' when we observe children's learning in museums. Working with data that has proved resistant to interpretation across a range of research projects, what we call 'sticky data', we elaborate on three themes emerging from this reconceptualisation: vibrancy, repetition and movement.

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What's in the Drawer?

Abstract: a a Sandra Dudley is based in the University of Leicester's School of Museum Studies. A social anthropologist, she is interested in things and bodily experience, in museums, Burma (Myanmar), and exile.

Cited by 8 publications

References 7 publications

Exploring abstract, physical, social and embodied space: developing an approach for analysing museum spaces for young children

Exploring abstract, physical, social and embodied space: developing an approach for analysing museum spaces for young children

Museum as a Sensory Space: A Discussion of Communication Effect of Multi-Senses in Taizhou Museum

Vibrancy, repetition and movement: posthuman theories for reconceptualising young children in museums

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