Social Inclusion, Participation and Openness. When they collide?

Social Inclusion, Participation and

Openness Where they collide?

Dr. Mariana Salgado Postdoctoral researcher Arki Research Group Aalto University 2013 27.01.2014

Interaction Design

Participatory Design

New Media Studies

Museology

X

How to create interactive design that encourages people to participate in exhibitions?

Sound Trace

Äänijalki (2005)

Ateneum Art Museum

Sound Trace

Mariana Salgado- Media Lab- November 2005


Conversational Map

Keskustelukar8a (2005)

Kunsthalle (Taidehalli)





The Secret Life of Objects

Esineiden Salatut Elämät (2008)

Design Museum Helsinki

Mariana Salgado- Media Lab TAIK- April 2008


Design Research

Prototyping interaction

design in exhibitions

Water collection We always had some for water and gas collecting at the summerhouse, starting in my childhood. No well and three kilometres to the mainland.



Why participative practices?

��

Yrjö Kukkapuro (1933-) Rocking chair “Experiment” birch laminate, tubular steel, wood, leather 1982 Avarte Oy Yrjö Kukkapuro graduated in interior architecture from the Institute for Industrial Arts in Helsinki in 1958. The basis for his design is in ergonomics. Kukkapuro has made an impressive amount of furniture for public spaces in his career. International postmodernist currents gave rise to the “Experiment” collection of furniture by Kukkapuro, first exhibited at the Milan furniture fair of 1982. The success of “Experiment” was evident in the fact of it being featured in 32 different newspapers and trade magazines. Yrjö Kukkapuro (this was a link to the designer’s company: http://www.avarte.fi/english/designers/yrjo-kukkapuro/)

Arcs and colours

Excellent chairs, cute, humorous. I fantasised about these chairs for a

long time and at some point a suitable pair came. The chair is like a pet. It

smiles and gestures to me like a funny rascal, in its own way, each day. No

other lounge chair does the same, but the morning starts well when I read the

newspaper in its arms and drink my morning tea in it

“

��

Spaceless space

I recently heard a lecture by a Spanish artist called Roc Pares. He has worked with the idea of a virtual void. I see a certain similarity between

Kåhre’s and Pares’ works, except that Pares works with the means of virtual reality and Kåhre’s piece is purely based on the physical. Both works also

remind me of an article “Psychology and Nothing” written by Eliot Hearst (1991, American Scientist, 7, 432-443). Hearst writes about how hard it is

for us humans to think about something that “is not” and that we are programmed to deal with things that “are” and “exist.” Thinking about

Kåhre’s piece, it might be that we are programmed also to perceive “what is” and not “what is not”.

Galleria virtual: The website of Roc Pares’ work Galería Virtual.

Comment left in Conversational Map.

“

Finnish design inspires me whenever I buy objects. Their high quality makes me think twice before choosing an object. They are practical, sit well with furniture, and their use of materials is good. Hard to say how much I appreciate your designs.

“ Minimal All this Finnish design makes me want to listen to minimal techno music.

“

Grandmother

There is a Savoy vase in every Finnish home. The size and colour

just varies. It’s suitable for everything: flowers, fruit and stones.

It is a true Finnish classic. Original in English.

“

Aalto vase

Definitely one of the most well-known pieces of Finnish glass

design in the world. I live in the U.S and have this vase at my

home in many sizes and colours, and it makes me

appreciate the artistic talent we have in Finland

“

This thing is very good, says an open-‐sea fisherman. It’s amazing how the designer has got the idea of leOng water

pass through the head of the fish, thus making it wobble in a nice way that the big fish can’t resist.

Comment leS at The Secret Life of Objects.

“

An6-‐Ode to a Lamp (Ode to Objects) A man invents a lamp that is not a lamp He hides the lamp inside ice. I don’t understand I am already cold I want warm light, yellow and graceful

A woman invents a new lamp she places it inside the sun. Every morning it smiles at her through the gap in the curtains.

Nana

.

“

Poem made for The Secret Life of Objects.

Visitor’s comment

I have heard a story about these scissors, where the colour of their

plasXc part is a result of the prototype process in which they used some

leSover pieces of plasXc that happened to be orange, the orange that

aSerwards was used… is that story true?


“ Answer from museum’s staff The story is true. Fiskars had made a juice extractor before that. The juice extractor used orange plasXc that accidentally ended up on the scissors handles when the first syringe was chosen. Workers were involved in the decision, and the colour orange was chosen for the handles. Comment leS at The Secret Life of Objects.

“

Eeronauts

The furniture by Eero Aarnio has prompted a parXcular fan club: the “eeronauts.” All around the world, they have incorporated his work not only into everyday life, but also into pop culture, from sci-‐fi to Playboy. These signs cover

magazines, videos, movies, etc.


“


The Secret Life of Objects, an Interac6ve Map of Finnish Design

How to create interactive design that encourages people to participate in exhibitions?

EXAMPLES

Työväenmuseo Werstas: http://www.werstas.fi/?q=node/803

http://www.flickr.com/groups/vangoghmuseum/

Social inclusion Participative practices Open approaches

Open Content and Data

Create and reuse

GLAM = Galleries, Libraries, Archives and Museums

Source of this definition: http://openglam.org/ #openglam

OpenGLAM is an initiative run by the Open Knowledge Foundation that promotes free and open access to digital cultural heritage held by Galleries, Libraries, Archives and Museums. OpenGLAM is supported by a global network of people and organisations who are working to open up content and data held by GLAM institutions.

http://avoinglam.fi/

AVOIN means open This is the name of working group in Finland Workshops, seminars and events to work together with cultural organizations It is a working group part of Open Knowledge Foundation Finland

How to motivate museums towards openness? What is the contribution that this discussion on openness can bring to museums?

Research questions

CC

by AvoinGLA

M in Flickr

Organizing 4 workshops in different cities around

Finland

Analysis of the workshop materials

Research methods

CC

by AvoinGLA

M in Flickr

Predefined group work:

•  collaboratively

mapped possibilities and challenges of sharing authorship

•  engaging the public

•  releasing content with more open terms of use.

Workshops

CC

by AvoinGLA

M in Flickr

Social Inclusion and Accessibility Participatory Approaches Open practices

Overview of Approaches

Social Inclusion and Accessibility

Inspired in the audience WHO is invited? ‘Open’ perceived in relation to technical and copyrights challenges, not in terms of the possibility for audience engagement and interaction with cultural heritage content. Invitation to new actors: developers, volunteers, designers

Participatory Approaches

Inspired in activities as tagging, bookmarking, voting, co-creating, etc HOW to take part? Special invitation to external collaborators such as associations and communities with special interests related to the museum collection. A sense of trust developed that allows museums to enrich their collections through community participation

Open practices

NO INVITATIONS Open calls to work with their collection: memory sessions, wiki marathons, hackathons and wiki workshops (edit-a-thons). People can engage by creating services, products or interpretations based on the collection without asking permission. Collections will be seen, used, interpreted and recreated in unexpected ways. This is an open approach that involves certain risks and a trust towards the future uses that people could invent for the collection.

Conclusions

In the case of open practices, the audience is taking part in the production and design of visualizations, products and services based on the museum collection. This time the audience takes part in their role as experts that can design, publish and make invitations facilitating other groups to engage with the collection.

CC

by

phau

ley

i in

Flic

kr

Conclusions

Openness gives space to the surprising and asks ethical questions concerning the future uses of our cultural heritage.

CC

by

smok

egho

st in

Flic

kr

Conclusions

Nurturing trust with the museum community, with external collaborators that could be interested in using the museum collection in unexpected ways is a fundamental part of museum actions towards openness.

CC

by

Dob

i in

Flic

kr

Arki Research group http://arki.mlog.taik.fi/ OpenGLAM http://openglam.org/ AvoinGLAM blog http://avoinglam.fi/ Twitter @avoinglam @Salgado

THANKS!

[email protected]

Arki Research group http://arki.mlog.taik.fi/

Twitter

@Salgado