Teenagers' Multisensory Routes for Learning in the Museum

ABSTRACT

In this article I draw on a study of sensory aspects of teenagers' use of digital media, how these sensory aspects are incorporated in emerging learning strategies, and the implications of this for the same teenagers' engagement in museums. My focus is on how an ethnographic approach that attends to the senses may enable a critical review of prevailing pedagogical ideas in museums. Recent developments in museum education have led to large investments in state-of-the-art technology to produce interactive, multisensory exhibits. However, the question of how teenagers respond to these campaigns remains rather under-researched. This article shows how habitual use of digital media in teenage everyday practice incorporates learning to appropriate other people's experiences and ideas through a configuration of vision, touch, motion, and imagination, thereby enhancing non-representational learning qualities such as affect and sensation. The implications of this sensory approach open up routes to differentiate pedagogical settings in museums that on a superficial level apply the same educational technologies, but since they are based in different sensorial belief systems, different conditions for learning unfold in their use. In developing this analysis I argue that through ethnographic attention to the senses we might advance theories of learning within museum education.     

Sensing the skin: acne sufferers and the dermatologization of life

ABSTRACT

In this paper, we explore what we call the “dermatologization of life” and how it regulates the ways in which acne sufferers relate to their skin. We refer to these ways of relating to the skin as “skin sensing”. Through an analysis of the online narratives found on the website acne.org, we demonstrate how the skin sensing bound up with dermatologization both converges with and diverges from biomedical understandings of acne in three key contexts: the hormonal, the alimentary and the nocturnal. In doing so, we show that skin sensing involves a complex combination of pleasure and pain, excitement and exhaustion, and work and play. Ultimately, we suggest that the ways in which acne sufferers sense their skin open up a set of possibilities that not only disable but also enable them as they embark on the often all-consuming quest for a clear complexion.     

Surprising the Senses

ABSTRACT

We perceive the world around us and the objects in it with all our senses. Designers can therefore influence the way we experience everyday products by paying attention to the multiple sensory aspects of products.

When sensory information from two or more senses conflicts, people can be surprised. Currently, more and more product designers are experimenting with designing products that provide incongruent sensory information. Creating such products enables these designers to evoke interest for their products and let people experience something new.

In several studies, we have investigated people's reactions to and opinions about products with sensory incongruities. The results of our studies suggest that evoking surprise by incorporating sensory incongruities in products can be seen as a means to create more pleasurable product experiences.     

What's in the Drawer?

ABSTRACT

Much current museum theory and practice emphasizes the importance of storytelling and the inclusion of multiple perspectives in richly layered museum interpretations, with a key objective being the elicitation of empathy for the lives and personal interactions of people in other times and places. Yet in the process museum objects themselves can often appear to recede in significance, appearing as little more than illustrations rather than the complex, material entities they actually are. This article explores the power of objects and of active ways of discovering them, in the setting of the University of Oxford's Pitt Rivers Museum. Visitors can open glass-topped drawers underneath a number of the display cases and find themselves gazing on artifacts in storage: some with museum labels visible and legible, others not. This discovery of the objects is actively performed and, while objects cannot be removed for handling, facilitates their imagined, non-visual exploration. It is also a process in which, the article suggests, proprioception is of particular interest. Overall the drawers offer, the article submits, the possibility for variously pleasing, alienating, surprising, or reassuring encounters with the potential to enhance the museum experience.     

Body of knowledge: Sunderland Museum and Art Gallery and the blind imagination

ABSTRACT

This article examines the cultural and philosophical intersection between visual and tactile knowledge and the emergent aesthetics of modernism. In the September 1913 edition of The Museums Journal, J. A. Charlton Deas published a paper entitled “The Showing of Museums and Art Galleries to the Blind.” The text, exceptional in its historical context, complicated prevailing assumptions about acts of “visual” art and blindness. Deas details a series of experiments undertaken at Sunderland Museum and Art Gallery from 1906 to 1913 that consisted of making accessible exhibits, specimens and paintings for blind children to touch. Unprecedented at the time, these experiments recast the persistent Western belief that the eye has privileged access to knowledge, instead asserting that knowledge is embedded within material corporeality. The physical, creative and intellectual inclusion of blind people into the formerly inaccessible space of the museum was unique in its reach and offers a refreshing new perspective of what those (authoritatively visual) spaces could be. Sunderland, a region which tends to be discursively separated from the ambitions and experiments of modernism, was at the center of modernist discussions about knowledge, sight and touch; and, disrupts modernism’s silence with respect to acknowledging unprecedented regional developments such as those detailed in “Showing.”     

Animated Spaces

ABSTRACT

Recent exhibitions of interaction design have sought, and often struggled, to capture within the space of a traditional gallery the multisensorial, often performative nature of the user experience and the richness of the contexts within which that experience takes place. Similarly, many architecture exhibitions have attempted to reinvent the place of architecture in the modern museum—to portray architecture as a multimodal, multisensory shaper of the material landscape that impacts people's everyday lives. Yet, again, the “white cube” complicates curators' and exhibition designers' efforts to go beyond traditional materials—blueprints, renderings, models, and photographs—to convey the dimensionality and material richness of built space. This article will examine how interaction design and architecture, both experiential fields, present unique challenges to the exhibition designer. It will also consider how these fields, by virtue of the distinctive qualities of their designed objects, offer unique opportunities for us to rethink the relationships between the contexts and contents of exhibition. It will conclude with specific recommendations for ascertaining the limitations and affordances of—and critically negotiating between—the exhibition space, the exhibition's publics, and exhibition modes and media.     

Experiential design and religious publicity at D.C.’s Museum of the Bible

ABSTRACT

This article examines the sensory dimension of religious publicity, focused on the case of an evangelical museum in the United States. Washington D.C.’s Museum of the Bible (MOTB) was envisioned and funded primarily by conservative Protestants, and is a revealing case of religion in public life because most of the creative labor of design was conceived and executed by secular firms who do not typically work for faith-based clients. The professional expertise of these firms, “experiential design,” informs a sea change in contemporary museology and the expansion of the experience economy in late modernity. Ultimately, I argue that MOTB’s engagement with experiential design indexes the power of entertainment in late modern life, as the sensory repertoire at play operates with largely unquestioned legitimacy and presumed efficacy. By mobilizing the cultural capital of design, an evangelical museum makes a claim for diverse audiences in a deeply public setting.     

Incorporating the Period Eye

ABSTRACT

In recent years, museums have staged a number of “exhibitions of exhibitions.” These experiments in institutional, curatorial, and artistic revivalism have ranged from allusions to and quotations from past installations to full-scale re-enactments and reconstructions. The motivations of the curators and artists responsible for these diverse projects have included the desire to recuperate both famous and forgotten shows and also to reproduce past modalities of display and spectatorship, and thus build an archive of the immaterial through retrospective and performance practices. Some of the most interesting “exhibitions of exhibitions” have focused on the historical conditions and institutional conventions of spectatorship, with the objective of alerting the contemporary viewer to differences in the performativity of spectatorship, past and present. By evoking former practices of looking, walking, and touching, these exhibitions also remind us that techniques of the museum visitor are both embodied and acquired. They require the contemporary viewer to recalibrate their choreography of their looking and moving; put another way, they activate what Michael Baxandall termed the “period eye” in order to decode the visual effects of the exhibition and to relocate oneself in the position of the historical spectator. This article explores how a number of recent exhibitions have redrawn attention to the corporeality of museum visiting and viewing, as well as to the historical acquisition of competences and attitudes that we take for granted today.     

A body passes by: the flâneur and the senses in nineteenth-century London and Paris

Abstract

The flâneur is well-known for being the most emblematic nineteenth-century observer of urban life. Critics have often compared the flâneur to a camera eye which records everything and insisted on the predominance of sight over other senses in the cognitive process. This article emphasises the embodiedness of the flâneur’s vision, which is an experience of all the senses. Urban public space can be envisaged as a ‘metabolic space,’ in which “the links between background and figures are very unstable” (Augoyard 1991). The moving body of the flâneur, which can adapt to this changing space, seems to be in an ideal position to apprehend the metabolic body of the city. The flâneur is not only a “transparent eye-ball” (Emerson 2003), he is “a living eye” which communicates with all the other senses and captures the whole experience of moving through the city. By looking at texts by Balzac, Baudelaire, Dickens and Charlotte Brontë, the article shows that flânerie is a sensory activity that shapes our perception of the city as much as the city shapes our own flâneries by transforming our bodies into scribes who write the “thicks and thins of the urban text” (de Certeau, 1984).     

A sensorial No Man’s Land: corporeality and the Western Front during the First World War

ABSTRACT

During the First World War in France and Belgium life on the Western Front was predominantly lived below the surface. The proliferation of hitherto unimaginably powerful weaponry rendered surface existence untenable. This retreat into the earth necessitated a complete revision of soldiers’ somatic engagement with their immediate environment. In my work as an archeologist of modern conflict landscapes, I have devised a methodology which combines archeological exploration with participant sensation or “sensory ethnography” to interrogate these complex, ambiguous and often dangerous subterranean places. In this article I show that as the war destroyed it also created new realities in which the senses were forced to work together like never before under the pressures of industrialized warfare. My work suggests how a holistic investigation (grounded in sensorality) of particular modern conflict landscapes can take the form of an ethnographic archeology, or an ethnography of the dead, demonstrating the potential for archeology and anthropology to work together in the increasingly interdisciplinary field of modern conflict studies.     

Where Publics May Touch

ABSTRACT

In response to the unique sensory modes of blind and partially sighted communities, tactile and multisensory tours and exhibition components of museum collections are gradually becoming more common in North America and Europe. Such initiatives are often intended to give equal forms of access for diverse participating publics. This article provides an auto-ethnographic report on the tactile tours offered by The National Gallery of Canada (Ottawa) program “Stimulating the Senses,” and gives context for sensorial models at play in Western museums today. Museum strategies that encourage intersensorial awareness and access are also discussed. Attention is given to the performative properties of these tours, and the variety of encounter they encourage between publics. This article also includes accounts of the program by its supervisor and coordinator, as well as from a participant. Key questions this article explores are: do such tours in fact give equal access; what motivates the development of such programs in Canadian institutions; and what outcomes are realized through these programs?     

Making sense of HIV/AIDS: Pascal de Duve and the sensitive historian of education1

ABSTRACT

Since the 1990s historians, in general, have increasingly engaged in critical analyses of the emergence and development of what has come to be known as ‘the HIV/AIDS pandemic’. Historians of education have also become interested in the role-played by education in the history of HIV/AIDS. Although the existing educational histories have successfully examined the multiple and far-reaching power structures that helped shape the educational responses to the disease, I will argue that their focus on ideological and geopolitical power structures runs the risk of losing sight of the crucial and often sensorial responses of individuals who have played a part in the educational history of HIV/AIDS. One such individual is the Flemish philosopher Pascal de Duve, who was diagnosed with HIV in 1989. De Duve’s particular approach to the disease clearly illustrate the importance of the senses in how people attributed particular meanings to HIV/AIDS. Knowing that this approach would prove surprising to both his readership and to his wider television audience, de Duve employed sensory experiences and modes of communication (for instance, gesture) to educative ends. I conclude that an intersensorial approach to the past will render historians of education more sensitive to unexpected personal responses towards HIV/AIDS to unexpected personal responses towards HIV/AIDS.     

Making Sense through Touch

ABSTRACT

This article explores the role of touch in the creation of meaning for ethnographic museum collections. It presents a collaborative study conducted at the McCord Museum in which groups of Inuit elders were invited to share their knowledge and memories about objects of everyday life collected in the Canadian Arctic during the first half of the twentieth century. The aim of this research was to gather the elders' interpretations of ancient hunting equipment, sewing paraphernalia, household utensils, and personal ornaments in order to inform archaeological analyses of analogous artifacts from Nunavut. The article focuses on the methodology of the group discussions, in which participants were invited to handle the objects without constraint. These interactions generated various meanings for the objects: their fabrication and uses in the past, their contemporary value for the preservation and promotion of Inuit traditions, and their role in supporting the well-being of Inuit visitors at the museum.     

Fantasy Lands and Kinesthetic Thrills

ABSTRACT

This article proposes that Coney Island's enclosed amusement parks aided in the transformation of spectacle as total-body experience. By studying the ways that Coney Island's unique beachside resort produced entertainment that appealed to all of the senses, we seek to “make sense” of the amusement area in its historical and geographic specificity. Even in its early years of development the beachside resort was touted (and critiqued) in the popular press as a carnivalesque atmosphere that escalated the senses. With the opening of Steeplechase, Luna Park and Dreamland Coney Island's enclosed amusement parks provided dream worlds of technological and architectural wonder that invited kinesthetic. Coney Island reconfigured the dizzying effects of urbanism, modernity and the capitalist machine as entertainment, inviting pleasure seekers to experience the shock of modernity as fun. Mechanical amusements celebrated and fostered thrill seekers as sensuous beings who experienced leisure not just through their eyes but with and through their entire bodies. Though the impossibilities of recreating the sensorial experiences of pleasure seekers at Coney Island remains a methodological limitation, this article contributes to literature that understands the senses as lived, embodied phenomena that are products of culture.     

Family touch practices and learning experiences in the museum

ABSTRACT

This paper investigates how family museum visitors crafted learning through interaction with one another and the touch objects of an exhibition. Through a case study of seven families’ interaction, we show how families used touch to bring their interests and resources into dialogue with museum expectations and resources. Using a multimodal approach to analyze observational data, we generate a fine-grained account of differently configured family touch practices and ways of experiencing and knowing objects through their material, sensory tactile and affective qualities. We conclude by highlighting how our findings can inform the design of touch exhibits to support family learning, with attention to engagement, narrative creation, and embodied learning, and point to the paper’s methodological contribution to the analysis of visitor situated real-time interaction and learning in museums.     

Introducing Sensory Studies

ABSTRACT

Color serves a variety of purposes in society from identifying groups to conveying symbolic meanings to providing aesthetic pleasure. More subtle effects of color can be found in the environments that human communities construct around themselves. At Doon School, an elite boys' boarding school in northern India, color is intimately associated with the students' activities, social relationships and sensory experiences. It defines their status and shapes their everyday lives. The uses of color at the school are consistent with a wider social aesthetic emphasizing restraint, logical thought and the training and presentation of the body. Many of these values can be seen to have their origins in the school's colonial history and postcolonial aspirations.     

Sensing Through White Gloves: On Congolese Objects in Swedish Sceneries

ABSTRACT

The article discusses collectibles acquired by Swedish missionaries and military officers active within the ill-reputed Congo Free State (1885–1908). Objects are approached here not primarily as tokens of Congolese material culture but as traces of a transnational cultural history and as points of entry to a critical museology. Drawing on case studies of collections I discuss the ways in which artifacts have been selected, joined and charged with new functions and meanings on their voyage between hands, narratives and genres.

In focus are five examples of objects that, analytically, have worked as what Roland Barthes (1980) calls punctum: the detail that disturbs and fascinates by force of seeming ungrammatical in relation to the larger context of which it forms part. By adding material to the Barthian concept I want to stress that such analytical impulses may be evoked by all senses. During an inventory of Swedish Congolese collections, when the historical state of stored museum items as untouchables could temporarily be broken, their multisensory material presences proved able to challenge textual discourses, serve as alternative witnesses and demonstrate hidden significances of ethnographical museums and collections.     

Sensuous (Re)Collections: The Sight and Taste of Socialism at Grūtas Statue Park,Lithuania

ABSTRACT

The present paper is about Grūtas, a Lithuanian park—museum featuring recuperated Soviet-era artifacts. This museum is examined as a locus of public memory where the nation's socialist history is invoked through visual representations (recovered statuary) and by implicating the sense of taste (“Soviet” drinks and dishes served at the museum's café). The paper suggests that seeing the Socialist past at Grūtas activates memories of trauma and loss, while tasting that past summons up more nostalgic reminiscences. It is further argued that this museum constitutes a visual and gustatory critique of Lithuania's increasingly commodified and “modernized” present. It is also proposed that collective memory in today's Eastern Europe affords a productive ethnographic site in which to investigate the ongoing systemic transformations in the aftermath of communist rule.     

How Creative Group Work Helps Adolescents Create Relations with Self and Peers

ABSTRACT

Practitioners often face questions about how to approach adolescents to join a group where they can develop healthy relationships with themselves and their peers. A growing number of practitioners and researchers value creative—nondeliberative—forms of working with such groups. This article discusses the artful, actional methods the authors use in their work with time-limited small groups of adolescents (age 14–17) who experienced behavioral challenges. These creative methods were used in settings such as secondary schools, counseling centers, and nongovernmental organizations in Lithuania during social skills training groups facilitated by the social workers.